• Volvo: Gaussian Splatting Is Our Secret Ingredient For Safer Cars

    The new ES90 electric car is the flagship of Volvo's latest digital safety tech.TT News Agency/AFP via Getty Images
    For decades, the Volvo brand has been synonymous with safety. But keeping passengers secure is no longer just about a strong cabin or cleverly designed crumple zones. Increasingly, safety is about semi-autonomous driving technology that can mitigate collisions or even avoid them entirely. Volvo intends to be ahead of the game in this era too. Its secret weapon? Something called “Gaussian Splatting”. I asked Volvo’s Head of Software Engineering Alwin Bakkenes and subsidiary Zenseact’s VP Product Erik Coelingh exactly what this is and why it’s so important.

    Volvo: Early Application Of Safety Data
    “We have a long history of innovations based on data,” says Bakkenes. “The accident research team from the 70s started with measuring tapes. Now in the digital world we’re collecting millions of real-life events. That data has helped us over the years to develop a three-point safety belt and the whiplash protection system. Now, we can see from the data we collect from fleets that a very large portion of serious accidents happen in the dark on country roads where vulnerable road users are involved. That’s why, with the ES90 that we just launched, we are also introducing a function called lighter AES where we have enabled the car to steer away from pedestrians walking on the side of the road or cyclists, which in the dark you can’t see even if you have your high beam on. This technology picks that up earlier than a human driver.” The Volvo EX90 SUV will also benefit from this technology.
    Volvo Cars uses AI and virtual worlds with the aim to create safer carsVolvo

    “If you want to lead in collision avoidance and self-driving, you need to have the best possible data from the real world,” adds Bakkenes. “But everyone is looking also at augmenting that with simulated data. The next step is fast automation, so we’re using state-of-the-art end-to-end models to achieve speed in iterations. But sometimes these models hallucinate. To avoid that, we use our 98 years of safety experience and these millions of data points as guardrails to make sure that the car behaves well because we believe that when you start to automate it needs to be trusted. For us every kilometer driven with Pilot Assist or Pilot Assist Plus needs to be safer than when you've driven it yourself. In the world of AI data is king. We use Gaussian Splatting to enhance our data set.”

    What Is Volvo’s Gaussian Splatting?
    “Cars are driven all around the world in different weather and traffic conditions by different people,” says Coelingh. “The variation is huge. We collect millions of data points, but it’s still a limited amount compared to reality. Gaussian Splatting is a new technology that some of our PhD students have been developing the last few years into a system where you can take a single data point from the real world where you have all the sensor, camera, radar and LIDAR sequences and then blow it up into thousands or tens of thousands of different scenarios. In that way, you can get a much better representation of the real world because we can test our software against this huge variation. If you do it in software, you can test much faster, so then you can iterate your software much more quickly and improve our product.”

    “Gaussian Splatting is used in different areas of AI,” continues Coelingh. “It comes from the neural radiance fields.” The original version worked with static images. “The first academic paper was about a drum kit where somebody took still pictures from different angles and then the neural net was trained on those pictures to create a 3D model. It looked perfect from any angle even though there was only a limited set of pictures available. Later that technology was expanded from 3D to 4D space-time, so you could also do it on the video set. We now do this not just with video data, but also with LiDAR and radar data.” A real-world event can be recreated from every angle. “We can start to manipulate other road users in this scenario. We can manipulate real world scenarios and do different simulations around this to make sure that our system is robust to variations.”Gaussian Splatting allows multiple scenario variations to be created from one real event.Volvo

    Volvo uses this system particularly to explore how small adjustments could prevent accidents. “Most of the work that we do is not about the crash itself,” says Coelingh. “It’s much more about what's happening 4-5 seconds before the crash or potential crash. The data we probe is from crashes, but it's also from events where our systems already did an intervention and in many cases those interventions come in time to prevent an accident and in some cases they come late and we only mitigated it. But all these scenarios are relevant because they happen in the real world, and they are types of edge case. These are rare, but through this technology of Gaussian Splatting, we can go from a few edge cases to suddenly many different edge cases and thereby test our system against those in a way that we previously could not.”
    Volvo’s Global Safety Focus
    This is increasingly important for addressing the huge variation in global driving habits and conditions a safety system will be expected to encounter. “Neural Nets are good at learning these types of patterns,” says Coelingh. “Humans can see that because of the behavior of a car the driver is talking into their phone, either slowing down or wiggling in the lane. If you have an end-to-end neural network using representations from camera images, LiDAR and radar, it will anticipate those kinds of things. We are probing data from cars all around the world where Volvo Cars are being driven.”
    The system acts preemptively, so it can perform a safety maneuver for example when a pedestrian appears suddenly in the path of the vehicle. “You have no time to react,” says Coelingh. Volvo’s safety system will be ready, however. “Even before that, the car already detects free space. It can do an auto steer and it’s a very small correction. It doesn't steer you out of lane. It doesn't jerk you around. It slows down a little bit and it does the correction. It's undramatic, but the impact is massive. Oncoming collisions are incredibly severe. Small adjustments can have big benefits.”Volvo's safety tech can detect pedestrians the human driver may not have seen.Volvo
    Volvo has developed one software platform to cover both safety and autonomy. “The software stack that we develop is being used in different ways,” says Coelingh. “We want the driver to drive manually undisturbed unless there’s a critical situation. Then we try to assist in the best possible way to avoid collision, either by warning, steering, auto braking or a combination of those. Then we also do cruising or L2 automation.”
    Volvo demonstrated how it has been using Gaussian Splatting at NVIDIA’s GTC in April. “We went deeply into the safe automation concept,” says Bakkenes. “Neural nets are good at picking up things that you can’t do in a rule-based system. We're developing one stack based on good fleet data which has end-to-end algorithms to achieve massive performance, and it has guard rails to make sure we manage hallucinations. It's not like we have a collision avoidance stack and then we have self-driving stack.”
    “There was a conscious decision that if we improve performance, then we want the benefits of that to be both for collision avoidance in manual driving and for self-driving,” says Coelingh. “We build everything from the same stack, but the stack itself is scalable. It’s one big neural network that we can train. But then there are parts that we can deploy separately to go from our core premium ADAS system all the way to a system that can do unsupervised automation. Volvo’s purpose is to get to zero collisions, saving lives. We use AI and all our energy to get there.”
    #volvo #gaussian #splatting #our #secret
    Volvo: Gaussian Splatting Is Our Secret Ingredient For Safer Cars
    The new ES90 electric car is the flagship of Volvo's latest digital safety tech.TT News Agency/AFP via Getty Images For decades, the Volvo brand has been synonymous with safety. But keeping passengers secure is no longer just about a strong cabin or cleverly designed crumple zones. Increasingly, safety is about semi-autonomous driving technology that can mitigate collisions or even avoid them entirely. Volvo intends to be ahead of the game in this era too. Its secret weapon? Something called “Gaussian Splatting”. I asked Volvo’s Head of Software Engineering Alwin Bakkenes and subsidiary Zenseact’s VP Product Erik Coelingh exactly what this is and why it’s so important. Volvo: Early Application Of Safety Data “We have a long history of innovations based on data,” says Bakkenes. “The accident research team from the 70s started with measuring tapes. Now in the digital world we’re collecting millions of real-life events. That data has helped us over the years to develop a three-point safety belt and the whiplash protection system. Now, we can see from the data we collect from fleets that a very large portion of serious accidents happen in the dark on country roads where vulnerable road users are involved. That’s why, with the ES90 that we just launched, we are also introducing a function called lighter AES where we have enabled the car to steer away from pedestrians walking on the side of the road or cyclists, which in the dark you can’t see even if you have your high beam on. This technology picks that up earlier than a human driver.” The Volvo EX90 SUV will also benefit from this technology. Volvo Cars uses AI and virtual worlds with the aim to create safer carsVolvo “If you want to lead in collision avoidance and self-driving, you need to have the best possible data from the real world,” adds Bakkenes. “But everyone is looking also at augmenting that with simulated data. The next step is fast automation, so we’re using state-of-the-art end-to-end models to achieve speed in iterations. But sometimes these models hallucinate. To avoid that, we use our 98 years of safety experience and these millions of data points as guardrails to make sure that the car behaves well because we believe that when you start to automate it needs to be trusted. For us every kilometer driven with Pilot Assist or Pilot Assist Plus needs to be safer than when you've driven it yourself. In the world of AI data is king. We use Gaussian Splatting to enhance our data set.” What Is Volvo’s Gaussian Splatting? “Cars are driven all around the world in different weather and traffic conditions by different people,” says Coelingh. “The variation is huge. We collect millions of data points, but it’s still a limited amount compared to reality. Gaussian Splatting is a new technology that some of our PhD students have been developing the last few years into a system where you can take a single data point from the real world where you have all the sensor, camera, radar and LIDAR sequences and then blow it up into thousands or tens of thousands of different scenarios. In that way, you can get a much better representation of the real world because we can test our software against this huge variation. If you do it in software, you can test much faster, so then you can iterate your software much more quickly and improve our product.” “Gaussian Splatting is used in different areas of AI,” continues Coelingh. “It comes from the neural radiance fields.” The original version worked with static images. “The first academic paper was about a drum kit where somebody took still pictures from different angles and then the neural net was trained on those pictures to create a 3D model. It looked perfect from any angle even though there was only a limited set of pictures available. Later that technology was expanded from 3D to 4D space-time, so you could also do it on the video set. We now do this not just with video data, but also with LiDAR and radar data.” A real-world event can be recreated from every angle. “We can start to manipulate other road users in this scenario. We can manipulate real world scenarios and do different simulations around this to make sure that our system is robust to variations.”Gaussian Splatting allows multiple scenario variations to be created from one real event.Volvo Volvo uses this system particularly to explore how small adjustments could prevent accidents. “Most of the work that we do is not about the crash itself,” says Coelingh. “It’s much more about what's happening 4-5 seconds before the crash or potential crash. The data we probe is from crashes, but it's also from events where our systems already did an intervention and in many cases those interventions come in time to prevent an accident and in some cases they come late and we only mitigated it. But all these scenarios are relevant because they happen in the real world, and they are types of edge case. These are rare, but through this technology of Gaussian Splatting, we can go from a few edge cases to suddenly many different edge cases and thereby test our system against those in a way that we previously could not.” Volvo’s Global Safety Focus This is increasingly important for addressing the huge variation in global driving habits and conditions a safety system will be expected to encounter. “Neural Nets are good at learning these types of patterns,” says Coelingh. “Humans can see that because of the behavior of a car the driver is talking into their phone, either slowing down or wiggling in the lane. If you have an end-to-end neural network using representations from camera images, LiDAR and radar, it will anticipate those kinds of things. We are probing data from cars all around the world where Volvo Cars are being driven.” The system acts preemptively, so it can perform a safety maneuver for example when a pedestrian appears suddenly in the path of the vehicle. “You have no time to react,” says Coelingh. Volvo’s safety system will be ready, however. “Even before that, the car already detects free space. It can do an auto steer and it’s a very small correction. It doesn't steer you out of lane. It doesn't jerk you around. It slows down a little bit and it does the correction. It's undramatic, but the impact is massive. Oncoming collisions are incredibly severe. Small adjustments can have big benefits.”Volvo's safety tech can detect pedestrians the human driver may not have seen.Volvo Volvo has developed one software platform to cover both safety and autonomy. “The software stack that we develop is being used in different ways,” says Coelingh. “We want the driver to drive manually undisturbed unless there’s a critical situation. Then we try to assist in the best possible way to avoid collision, either by warning, steering, auto braking or a combination of those. Then we also do cruising or L2 automation.” Volvo demonstrated how it has been using Gaussian Splatting at NVIDIA’s GTC in April. “We went deeply into the safe automation concept,” says Bakkenes. “Neural nets are good at picking up things that you can’t do in a rule-based system. We're developing one stack based on good fleet data which has end-to-end algorithms to achieve massive performance, and it has guard rails to make sure we manage hallucinations. It's not like we have a collision avoidance stack and then we have self-driving stack.” “There was a conscious decision that if we improve performance, then we want the benefits of that to be both for collision avoidance in manual driving and for self-driving,” says Coelingh. “We build everything from the same stack, but the stack itself is scalable. It’s one big neural network that we can train. But then there are parts that we can deploy separately to go from our core premium ADAS system all the way to a system that can do unsupervised automation. Volvo’s purpose is to get to zero collisions, saving lives. We use AI and all our energy to get there.” #volvo #gaussian #splatting #our #secret
    WWW.FORBES.COM
    Volvo: Gaussian Splatting Is Our Secret Ingredient For Safer Cars
    The new ES90 electric car is the flagship of Volvo's latest digital safety tech.TT News Agency/AFP via Getty Images For decades, the Volvo brand has been synonymous with safety. But keeping passengers secure is no longer just about a strong cabin or cleverly designed crumple zones. Increasingly, safety is about semi-autonomous driving technology that can mitigate collisions or even avoid them entirely. Volvo intends to be ahead of the game in this era too. Its secret weapon? Something called “Gaussian Splatting”. I asked Volvo’s Head of Software Engineering Alwin Bakkenes and subsidiary Zenseact’s VP Product Erik Coelingh exactly what this is and why it’s so important. Volvo: Early Application Of Safety Data “We have a long history of innovations based on data,” says Bakkenes. “The accident research team from the 70s started with measuring tapes. Now in the digital world we’re collecting millions of real-life events. That data has helped us over the years to develop a three-point safety belt and the whiplash protection system. Now, we can see from the data we collect from fleets that a very large portion of serious accidents happen in the dark on country roads where vulnerable road users are involved. That’s why, with the ES90 that we just launched, we are also introducing a function called lighter AES where we have enabled the car to steer away from pedestrians walking on the side of the road or cyclists, which in the dark you can’t see even if you have your high beam on. This technology picks that up earlier than a human driver.” The Volvo EX90 SUV will also benefit from this technology. Volvo Cars uses AI and virtual worlds with the aim to create safer carsVolvo “If you want to lead in collision avoidance and self-driving, you need to have the best possible data from the real world,” adds Bakkenes. “But everyone is looking also at augmenting that with simulated data. The next step is fast automation, so we’re using state-of-the-art end-to-end models to achieve speed in iterations. But sometimes these models hallucinate. To avoid that, we use our 98 years of safety experience and these millions of data points as guardrails to make sure that the car behaves well because we believe that when you start to automate it needs to be trusted. For us every kilometer driven with Pilot Assist or Pilot Assist Plus needs to be safer than when you've driven it yourself. In the world of AI data is king. We use Gaussian Splatting to enhance our data set.” What Is Volvo’s Gaussian Splatting? “Cars are driven all around the world in different weather and traffic conditions by different people,” says Coelingh. “The variation is huge. We collect millions of data points, but it’s still a limited amount compared to reality. Gaussian Splatting is a new technology that some of our PhD students have been developing the last few years into a system where you can take a single data point from the real world where you have all the sensor, camera, radar and LIDAR sequences and then blow it up into thousands or tens of thousands of different scenarios. In that way, you can get a much better representation of the real world because we can test our software against this huge variation. If you do it in software, you can test much faster, so then you can iterate your software much more quickly and improve our product.” “Gaussian Splatting is used in different areas of AI,” continues Coelingh. “It comes from the neural radiance fields (NeRFs).” The original version worked with static images. “The first academic paper was about a drum kit where somebody took still pictures from different angles and then the neural net was trained on those pictures to create a 3D model. It looked perfect from any angle even though there was only a limited set of pictures available. Later that technology was expanded from 3D to 4D space-time, so you could also do it on the video set. We now do this not just with video data, but also with LiDAR and radar data.” A real-world event can be recreated from every angle. “We can start to manipulate other road users in this scenario. We can manipulate real world scenarios and do different simulations around this to make sure that our system is robust to variations.”Gaussian Splatting allows multiple scenario variations to be created from one real event.Volvo Volvo uses this system particularly to explore how small adjustments could prevent accidents. “Most of the work that we do is not about the crash itself,” says Coelingh. “It’s much more about what's happening 4-5 seconds before the crash or potential crash. The data we probe is from crashes, but it's also from events where our systems already did an intervention and in many cases those interventions come in time to prevent an accident and in some cases they come late and we only mitigated it. But all these scenarios are relevant because they happen in the real world, and they are types of edge case. These are rare, but through this technology of Gaussian Splatting, we can go from a few edge cases to suddenly many different edge cases and thereby test our system against those in a way that we previously could not.” Volvo’s Global Safety Focus This is increasingly important for addressing the huge variation in global driving habits and conditions a safety system will be expected to encounter. “Neural Nets are good at learning these types of patterns,” says Coelingh. “Humans can see that because of the behavior of a car the driver is talking into their phone, either slowing down or wiggling in the lane. If you have an end-to-end neural network using representations from camera images, LiDAR and radar, it will anticipate those kinds of things. We are probing data from cars all around the world where Volvo Cars are being driven.” The system acts preemptively, so it can perform a safety maneuver for example when a pedestrian appears suddenly in the path of the vehicle. “You have no time to react,” says Coelingh. Volvo’s safety system will be ready, however. “Even before that, the car already detects free space. It can do an auto steer and it’s a very small correction. It doesn't steer you out of lane. It doesn't jerk you around. It slows down a little bit and it does the correction. It's undramatic, but the impact is massive. Oncoming collisions are incredibly severe. Small adjustments can have big benefits.”Volvo's safety tech can detect pedestrians the human driver may not have seen.Volvo Volvo has developed one software platform to cover both safety and autonomy. “The software stack that we develop is being used in different ways,” says Coelingh. “We want the driver to drive manually undisturbed unless there’s a critical situation. Then we try to assist in the best possible way to avoid collision, either by warning, steering, auto braking or a combination of those. Then we also do cruising or L2 automation.” Volvo demonstrated how it has been using Gaussian Splatting at NVIDIA’s GTC in April. “We went deeply into the safe automation concept,” says Bakkenes. “Neural nets are good at picking up things that you can’t do in a rule-based system. We're developing one stack based on good fleet data which has end-to-end algorithms to achieve massive performance, and it has guard rails to make sure we manage hallucinations. It's not like we have a collision avoidance stack and then we have self-driving stack.” “There was a conscious decision that if we improve performance, then we want the benefits of that to be both for collision avoidance in manual driving and for self-driving,” says Coelingh. “We build everything from the same stack, but the stack itself is scalable. It’s one big neural network that we can train. But then there are parts that we can deploy separately to go from our core premium ADAS system all the way to a system that can do unsupervised automation. Volvo’s purpose is to get to zero collisions, saving lives. We use AI and all our energy to get there.”
    0 Комментарии 0 Поделились
  • What's New on Paramount+ With Showtime in June 2025

    Paramount+ has a lighter lineup of original content in June, though the platform will stream the live broadcast of the 78th annual Tony Awards from Radio City Music Hall in New York City. The show, hosted by Wicked's Cynthia Erivo, will air live on June 8 for Paramount+ With Showtime subscribers—other viewers can watch on-demand the next day. Other content available for Paramount+ With Showtime users is Love Me, a post-apocalyptic romance starring Kristen Steward and Steven Yeun, and Noah's Arc: The Movie, 20 years after the titular show first debuted. Darryl Stephens, Rodney Chester, Doug Spearman, Christian Vincent, Jensen Atwood, and Wilson Cruz are set to reprise their roles.

    Here’s everything else coming to the service in June. Note that titles with an asterisk are exclusive to Paramount+ With Showtime; everything else is also available to subscribers on the ad-supported plan. Those with two asterisks are available to Paramount+ With Showtime users streaming live on CBS and to all subscribers the following day.Paramount+ Originals and premieres coming in June 2025Available June 8The 78th Annual Tony Awards**Available June 16Love Me*Available June 20Noah's Arc: The Movie,* premiereTV shows coming to Paramount+ in June 2025Available June 4SpongeBob SquarePantsAvailable June 11The Really Loud HouseAvailable June 22Nickelodeon Kids' Choice AwardsAvailable June 25The Patrick Star ShowIce Airport AlaskaThe Last CowboyMovies coming to Paramount+ in June 2025Available June 13:10 to Yuma*12 Years a Slave Bad News Bears BlacKkKlansmanBoogie NightsBut I'm a CheerleaderCall Me By Your NameCarolCarriersCenter StageChanging LanesChasing AmyCloverfieldCrawlspaceDaddy Day CampDance FlickDog Day AfternoonDouble Jeopardy Eagle Eye ElfEnemy at the Gates EuroTripEverybody's Fine ExtractFirst Blood HeatwaveHow She MoveHow to Lose a Guy in 10 Days Imagine That In & OutIndiana Jones and the Kingdom of the Crystal SkullIndiana Jones and the Last CrusadeIndiana Jones and the Raiders of the Lost Ark Indiana Jones and the Temple of DoomJawbreakerKinky BootsLaw of DesireLayer Cake Light of My LifeLike a BossMarathon ManMastermindsMilitary Wives*Naked Gun 33 1/3: The Final InsultNo Country for Old MenOrange CountyOverdrivePretty In PinkPulp Fiction Racing with the MoonRambo IIIRambo: First Blood Part II RED* Reservoir Dogs Risky Business Road Trip Run & Gun Saturday Night FeverSave the Last Dance School Ties Scouts Guide to the Zombie Apocalypse She's All That Sky Captain and the World of Tomorrow Stand By Me Teen Titans GO! To the Movies The Autopsy of Jane Doe* The Crossing Guard The Dictator The Fighting Temptations The GamblerThe General's DaughterThe Girl Next Door The Godfather The Godfather Part II The Godfather Coda: The Death of Michael Corleone The Hunt for Red OctoberThe Ides of March The Kings of SummerThe Last Samurai The Lovely Bones The Naked Gun 2 1/2: The Smell of FearThe Naked Gun: From The Files of Police Squad! The Nice Guys The Other Woman* The People vs. Larry Flynt The Running ManThe ShootistThe Space Between Us* The Untouchables Tigerland Tommy BoyTootsie Total RecallTrue Grit Whiplash Without a Paddle xXxZola Available June 5Lions for Lambs*
    #what039s #new #paramount #with #showtime
    What's New on Paramount+ With Showtime in June 2025
    Paramount+ has a lighter lineup of original content in June, though the platform will stream the live broadcast of the 78th annual Tony Awards from Radio City Music Hall in New York City. The show, hosted by Wicked's Cynthia Erivo, will air live on June 8 for Paramount+ With Showtime subscribers—other viewers can watch on-demand the next day. Other content available for Paramount+ With Showtime users is Love Me, a post-apocalyptic romance starring Kristen Steward and Steven Yeun, and Noah's Arc: The Movie, 20 years after the titular show first debuted. Darryl Stephens, Rodney Chester, Doug Spearman, Christian Vincent, Jensen Atwood, and Wilson Cruz are set to reprise their roles. Here’s everything else coming to the service in June. Note that titles with an asterisk are exclusive to Paramount+ With Showtime; everything else is also available to subscribers on the ad-supported plan. Those with two asterisks are available to Paramount+ With Showtime users streaming live on CBS and to all subscribers the following day.Paramount+ Originals and premieres coming in June 2025Available June 8The 78th Annual Tony Awards**Available June 16Love Me*Available June 20Noah's Arc: The Movie,* premiereTV shows coming to Paramount+ in June 2025Available June 4SpongeBob SquarePantsAvailable June 11The Really Loud HouseAvailable June 22Nickelodeon Kids' Choice AwardsAvailable June 25The Patrick Star ShowIce Airport AlaskaThe Last CowboyMovies coming to Paramount+ in June 2025Available June 13:10 to Yuma*12 Years a Slave Bad News Bears BlacKkKlansmanBoogie NightsBut I'm a CheerleaderCall Me By Your NameCarolCarriersCenter StageChanging LanesChasing AmyCloverfieldCrawlspaceDaddy Day CampDance FlickDog Day AfternoonDouble Jeopardy Eagle Eye ElfEnemy at the Gates EuroTripEverybody's Fine ExtractFirst Blood HeatwaveHow She MoveHow to Lose a Guy in 10 Days Imagine That In & OutIndiana Jones and the Kingdom of the Crystal SkullIndiana Jones and the Last CrusadeIndiana Jones and the Raiders of the Lost Ark Indiana Jones and the Temple of DoomJawbreakerKinky BootsLaw of DesireLayer Cake Light of My LifeLike a BossMarathon ManMastermindsMilitary Wives*Naked Gun 33 1/3: The Final InsultNo Country for Old MenOrange CountyOverdrivePretty In PinkPulp Fiction Racing with the MoonRambo IIIRambo: First Blood Part II RED* Reservoir Dogs Risky Business Road Trip Run & Gun Saturday Night FeverSave the Last Dance School Ties Scouts Guide to the Zombie Apocalypse She's All That Sky Captain and the World of Tomorrow Stand By Me Teen Titans GO! To the Movies The Autopsy of Jane Doe* The Crossing Guard The Dictator The Fighting Temptations The GamblerThe General's DaughterThe Girl Next Door The Godfather The Godfather Part II The Godfather Coda: The Death of Michael Corleone The Hunt for Red OctoberThe Ides of March The Kings of SummerThe Last Samurai The Lovely Bones The Naked Gun 2 1/2: The Smell of FearThe Naked Gun: From The Files of Police Squad! The Nice Guys The Other Woman* The People vs. Larry Flynt The Running ManThe ShootistThe Space Between Us* The Untouchables Tigerland Tommy BoyTootsie Total RecallTrue Grit Whiplash Without a Paddle xXxZola Available June 5Lions for Lambs* #what039s #new #paramount #with #showtime
    LIFEHACKER.COM
    What's New on Paramount+ With Showtime in June 2025
    Paramount+ has a lighter lineup of original content in June, though the platform will stream the live broadcast of the 78th annual Tony Awards from Radio City Music Hall in New York City. The show, hosted by Wicked's Cynthia Erivo, will air live on June 8 for Paramount+ With Showtime subscribers—other viewers can watch on-demand the next day. Other content available for Paramount+ With Showtime users is Love Me (June 16), a post-apocalyptic romance starring Kristen Steward and Steven Yeun, and Noah's Arc: The Movie (June 20), 20 years after the titular show first debuted. Darryl Stephens, Rodney Chester, Doug Spearman, Christian Vincent, Jensen Atwood, and Wilson Cruz are set to reprise their roles. Here’s everything else coming to the service in June. Note that titles with an asterisk are exclusive to Paramount+ With Showtime; everything else is also available to subscribers on the ad-supported plan. Those with two asterisks are available to Paramount+ With Showtime users streaming live on CBS and to all subscribers the following day.Paramount+ Originals and premieres coming in June 2025Available June 8The 78th Annual Tony Awards**Available June 16Love Me*Available June 20Noah's Arc: The Movie,* premiereTV shows coming to Paramount+ in June 2025Available June 4SpongeBob SquarePants (season 14) Available June 11The Really Loud House (season 2) Available June 22Nickelodeon Kids' Choice Awards (on-demand) Available June 25The Patrick Star Show (season 3) Ice Airport Alaska (season 5) The Last Cowboy (season 5) Movies coming to Paramount+ in June 2025Available June 13:10 to Yuma*12 Years a Slave Bad News Bears BlacKkKlansmanBoogie NightsBut I'm a CheerleaderCall Me By Your NameCarolCarriersCenter StageChanging LanesChasing AmyCloverfieldCrawlspaceDaddy Day CampDance FlickDog Day AfternoonDouble Jeopardy Eagle Eye ElfEnemy at the Gates EuroTripEverybody's Fine ExtractFirst Blood HeatwaveHow She MoveHow to Lose a Guy in 10 Days Imagine That In & OutIndiana Jones and the Kingdom of the Crystal SkullIndiana Jones and the Last CrusadeIndiana Jones and the Raiders of the Lost Ark Indiana Jones and the Temple of DoomJawbreakerKinky BootsLaw of DesireLayer Cake Light of My LifeLike a BossMarathon ManMastermindsMilitary Wives*Naked Gun 33 1/3: The Final InsultNo Country for Old MenOrange CountyOverdrivePretty In PinkPulp Fiction Racing with the MoonRambo IIIRambo: First Blood Part II RED* Reservoir Dogs Risky Business Road Trip Run & Gun Saturday Night FeverSave the Last Dance School Ties Scouts Guide to the Zombie Apocalypse She's All That Sky Captain and the World of Tomorrow Stand By Me Teen Titans GO! To the Movies The Autopsy of Jane Doe* The Crossing Guard The Dictator The Fighting Temptations The GamblerThe General's DaughterThe Girl Next Door The Godfather The Godfather Part II The Godfather Coda: The Death of Michael Corleone The Hunt for Red OctoberThe Ides of March The Kings of SummerThe Last Samurai The Lovely Bones The Naked Gun 2 1/2: The Smell of FearThe Naked Gun: From The Files of Police Squad! The Nice Guys The Other Woman* The People vs. Larry Flynt The Running ManThe ShootistThe Space Between Us* The Untouchables Tigerland Tommy BoyTootsie Total Recall (1990) True Grit Whiplash Without a Paddle xXxZola Available June 5Lions for Lambs*
    0 Комментарии 0 Поделились
  • The Last Of Us Season Two, Episode Seven Recap: Abby Road

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

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

    Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at for Now, But Could Go HigherGuilty as chargedAfter last week’s flashback-heavy episode, we open on Jessetending to wounds the Seraphites have inflicted on Dina, which means we get a real heinous scene of him doing some amateur surgeon’s work to remove the arrow she took to the knee. He douses it in alcohol and offers her a sip to dull the pain, but she staunchly refuses without explaining why. They made Jesse an asshole in this show, but he’s still a smart guy. The gears start turning in his head about why she might turn down a swig right now. Nevertheless, he takes that motherfucker out with no anesthetic, booze, or supportive bedside girlfriend to help Dina through it.Speaking of the absent girlfriend, Elliefinally returns to their theater base of operations. Now that she’s back, all her concern is on Dina, but Jesse is still wondering where the hell she’s been this whole time. Dina is resting backstage, and even though we only see these details for a few minutes, I once again want to shout out the set designers who recreated this little safe haven, which is covered in old show posters and graffiti from bands and artists that performed there before the cordyceps took over. I’m sure Joel would have loved to have seen it.Dina stirs awake and Ellie checks her wound. Jesse’s effort to wrap the injury leaves a lot to be desired, but it should heal in time. Ellie asks if the baby’s alright, and Dina says it’s okay.“How do you know?” Ellie asks.“I just do,” Dina replies.The one who is not okay in the room is Ellie, who is bleeding through the back of her shirt. Dina helps her undress and starts to clean the scratches on her back. As she does, she asks what happened while they were separated. Ellie says she found Nora, and she knew where Abbywas, but only said two words: “Whale” and “Wheel.” Ellie says she doesn’t know what it meant. It could have been nonsense. She was infected, and it was already starting to affect her cognitive state.“I made her talk,” Ellie whispers. “I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.”Image: HBODina asks if Ellie killed her, but she says she just “left her,” meaning that somewhere in this timeline, Nora is wandering the depths of a Seattle hospital with broken legs and an infected mind. I thought the show couldn’t possibly concoct a worse fate for her than what happens in the game, but they found a way. It takes commitment to put down a character like showrunners Craig Mazin and Neil Druckmann have done for Nora across both video games and television. Personally, I think when you already know that people are wary of the way you treat one of the few Black women in your franchise as if she doesn’t deserve the same dignity as everyone else, maybe you should do better by her when given a second chance, rather than worse. But that’s just me. I’m not the one being paid a bunch of money to butcher this story on HBO Max every Sunday at 9 p.m. Eastern. So what do I know?Maybe this is just part of the contrived sadism the show has attached to Ellie. She thinks violence is easy and it comes naturally to her, so I guess she would beat a woman nearly to death until the fungal infection made her lose her mind. Meanwhile the game version is so traumatized by what she’s done in this moment, she’s practically speechless by the time she reaches the theater. God, I knew this shit was going to happen. Mazin has repeatedly insisted that Ellie is an inherently violent individual, something he’s communicated both in interviews and by having Catherine O’Hara’s Gail, the therapist who tells you what the story is about, say that she’s always been a sadist, probably. Now, when we get to moments like the post-Nora debrief which used to convey that Ellie is Not Cut Out For This Shit, the framing instead becomes “Ellie likes violence and feels bad about how much she likes violence.”Before The Last of Us Part II came out, a lot of Naughty Dog’s promotion for the game was kind of vague and even deceptive in an effort to keep its biggest twists under wraps, and some of the messaging it used to talk about the game’s themes have irrevocably set a precedent for how the game’s story is talked about years later. When the game was first revealed in 2016, the studio said the story would be “about hate,” which paints a much more destructive and myopic picture of Ellie’s journey than the one driven by love and grief she actually experiences through the course of the game.One of the most annoying things about being a Last of Us fan is that its creators love to talk about the series in ways that erase its emotional complexity, making it sound more cynical and underhanded when the actual story it’s telling is anything but. I can’t count how many times I’ve heard people reductively parroting notions that The Last of Us Part II is just about “hate” and “guilting the player” for taking part in horrifying actions when they literally have no choice but to do so, rather than cracking the text open and dissecting that nuance. Mazin’s openly-expressed belief that Ellie is an intrinsically bloodthirsty person similarly bleeds into how a lot of the public perceives her as a character, seeing her as a violent ruffian rather than a grieving daughter who was only ever taught to express her pain by inflicting it on those who made her feel it in the first place. Discussing these games as a fan means having to fight against these notions, but they’re born from a game built on subtext, and thus willingly opens itself to those interpretations.Its willingness to dwell in ambiguity only makes it a more fascinating text to unpack, or it would, if we lived in a world where discussing video games wasn’t a volatile experience in which you constantly run the risk of being targeted for performative online dunks, or running up against rabid console tribalism. Now, the Last of Us show has decided to lean into the most boring interpretation of what this story is about without an ounce of subtlety, nuance, or even sympathy for Ellie’s plight. She is a sadist who does terrible things not simply because she’s grieving her father figure, but because this is just who she is. Mazin has deemed it so, and here we are, and this vision of her will no doubt weave itself into the fabric of how we talk about Ellie Williams, even in the game.This story only has any thematic weight if Ellie’s violent outbursts are rooted in pain, not pleasure. Yeah, what we’re seeing in the show is her acting from a mix of those things but, in the game at least, the most affecting moments of Ellie’s Seattle revenge tour happen when she has to confront how she is not built for acts of violent excess in the same way Joel was. She never has been. Back in Part I, she was sick to her stomach when she committed her first kill to save Joel, and the entire point of Part II was that we see her cut off parts of herself to do what she feels she must, only to find that she’s unable to recognize herself when it’s all over. In the show, she is instead mesmerized by carnage, only to decide she doesn’t like that she feels that way, actually. But all this self-reflection is fleeting, because she’s only killed one person on her list, and there’s a lot more work to do. How many Joels is Nora’s life worth to Ellie? One-fifth?While Ellie is wrestling with these feelings, Dina is about to see things with more clarity than ever. At first, she says that Nora may have deserved this fate worse than death, to which Ellie says “Maybe she didn’t,” before telling her girlfriend everything. She tearfully recounts Joel’s massacre of the Fireflies at the base in Salt Lake City, how the group was going to use her immunity to create a cure, and how Joel killed Abby’s father to save her. Dina puts it all together and asks Ellie if she knew who Abby’s group was. She says she didn’t, but she did know what Joel did. Dina sits with that for a moment, then flatly says the group needs to go home.So I guess this is how the show gets Dina, who’s been pretty revenge-hungry thus far, back onto the track she’s on in the games. Without spoiling scenes in the late game for the uninitiated, some major points of conflict at the end of Part II require her to be less on-board with Ellie’s vendetta, so the fact that she’s been egging her girlfriend on to track down Abby was an odd choice. I wasn’t sure how the show would handle it down the line, but it seems the way HBO’s show has course-corrected was by having her condemn Joel’s actions. Dina had her own relationship with the old man in the show, so I imagine that in a later season she’ll interrogate how she feels about him in light of this new information, but having her more or less get off the ride when she learns what Joel has done sets up a contrast between her and Ellie that I’m curious to see how the show handles.The shame of it, though, is that this is just one more thing that undermines one of the core foundations of the source material, and I have to get at least one more jab in on this topic before we end the season. In The Last of Us Part II, when you look at what is actually expressed in dialogue, you see that characters are often lacking important information about each other. This lack of communication is an important part of its storytelling, but the show is instead having characters tell everyone everything. In Part II, Joel and Ellie don’t know who Abby’s father was. It’s strongly implied that no one other than Joel, Ellie, and Tommy knew about what happened in Salt Lake City, not even Dina. The more the show bridges these gaps of communication, the more senseless this entire tit-for-tat feels. To be clear, it was senseless in the game, but it was in a tragic, “these people are so blinded by their emotions that they can’t fathom another path forward” sort of way. This time around, everyone knows exactly what’s happening and chooses to partake in violence anyway. We don’t have any mystery or lack of communication to fall back on as a we struggle to understand why the characters keep making these self-destructive decisions. Everyone is just knowingly the worst version of themselves this time around, and I guess Mazin thinks that’s the point, which is the kind of boring interpretation that makes the show such an inferior version of this story.Family mattersWe now begin our third day in Seattle. Ellie and Jesse are packing up to get going in the theater lobby. The plan is to find Tommysomewhere in the city and then head back to Jackson. However, Jesse is a lot less talkative this morning. Dina limps into the lobby, and after a brief scolding for being on her feet, she gives Ellie a bracelet for good luck.“I’m not sure it’s been working for you,” Ellie jokes.“I’m alive,” Dina replies.Jesse is clearly uncomfortable watching his exgive Ellie a prized possession, and says he can go alone if Dina wants Ellie to stay. Ellie says they’ll be safer together. Jesse relents and says they should be back by sundown. The tension is radiating off him, but the pair leaves Dina in the safety of the theater.Image: HBOEllie and Jesse awkwardly walk through the remains of Seattle. She finally breaks the silence by asking how he found Ellie and Dina’s theater base. He recounts his two days of tracking, giving a shoutout to the horse Shimmer who’s still vibing in the record store the girls left her at, but he’s clearly pissed. Ellie assumes it’s because he and Tommy had to cross state lines to come find them, but no, there’s something else on his mind. Why do Ellie and Dina look at each other differently? Why did Dina turn down a free drink for the first time in her life? He’s putting it all together. Dina and Ellie are no longer just gals being pals, and hisgirlfriend is pregnant.“None of this has to change things between us,” Ellie says.“Everything changing doesn’t have to change things?” Jesse asks. “Well, how about this for something new: I’m gonna be a father, which means I can’t die. But because of you, we’re stuck in a warzone. So how about we skip the apologies and just go find Tommy so I can get us and my kid the fuck out of Seattle?”Wow, okay. Judgey, much? I mean, you’re right, Jesse. This is a no good, very bad situation, and Ellie has put your kid in danger and won’t even tell you she was torturing a woman last night. But god, I miss kindhearted Jesse. I miss Ellie’s golden retriever best friend who, when finding out Dina was pregnant, firmly but gently told Ellie it was time to get the fuck out of Seattle. Now that the show has created a messy cheating love triangle out of these three, I’m once again reflecting on how The Last of Us Part II could have very easily made this storyline a dramatic, angry one, and instead it was one of the brighter spots in a dark tale. Meanwhile, in the show, the whole thing feels like it’s regressed to a rote and predictable earlier draft of the story that’s much less refreshing and compelling than the one we already know. Justice for Jesse. This is character assassination of the goodest boy in all of Jackson. Well, actually, that’s Abby’s job. Sorry, sorry. That’s actually not for another 35 minutes.As the two move further into the city, they see more art praising the Seraphite prophet on the buildings, but she looks notably different than in images we’ve seen previously. This art depicts a Black woman, whereas others have typically portrayed the prophet as white. Ellie wonders aloud if there’s “more than one of her.” Jesse says it’s possible, but ushers her forward as rain starts pouring down. I’m curious what the show might be doing here, as this is a divergence from Part II. Could the Seraphites be a kind of polytheistic group in the show that follows multiple prophets? Could they believe the Prophet was reincarnated into a different woman at some point? All we can do is theorize, but we haven’t seen much of the Seraphites this season so we don’t have much to go on. Which is by design, and feels pretty in-line with Part II, which didn’t tell you much about the group during Ellie’s three days in Seattle. We’ll pick this thread back up next season, I’m sure.The pair takes shelter but before they can catch their breath, they hear the popping sound of gunfire nearby as a W.L.F. squad corners a lone Seraphite. Ellie and Jesse watch in horror as the wolves strip and drag him away. Just as Ellie nearly gets out from cover to intervene, Jesse pulls her back. Once the coast is clear, Ellie walks away in a huff. As Jesse follows, he points out that they were outnumbered and would have lost that fight.“He was a fucking kid!” Ellie shouts.“Ellie, these peopleshooting each other, lynching each other, ripping each other’s guts out,” Jesse says. “Even the kids? I’m not dying out here. Not for any of them. This is not our war.”Who the fuck is this man? I touched on it in episode five, but what is with this show putting all of Ellie’s unlikable traits on other characters so she keeps getting to be the hero? Jesse turns from a selfless guardian into a selfish asshole who will watch a kid get tortured to save himself while Ellie is suddenly very concerned about a war that, in the game, she seemed largely indifferent to. It’s as if The Last of Us’ second season is so concerned with us liking Ellie and feeling like we can root for her that it’s lost sight of anything else.So Jesse gets to be the belligerent asshole and Dina gets to be the revenge-driven one in the relationship. Ellie? She’s just bee-bopping through spouting cool space facts, and so when she tortures Nora, it feels like tonal whiplash. I don’t recognize Jesse. Most of the time, I don’t recognize Ellie. But really, the more I watch this show, the more I hardly recognize anyone, and I don’t have any faith in the series to figure these characters and their relationships out, even if it’s going to go on for two more seasons.Will the circle be unbroken?We shift away from the Jackson crew to check in on Isaac, who we haven’t seen in a few episodes. Sergeant Parkupdates the W.L.F. boss that the incoming storm will get worse as the day goes on, but even so, the group is still preparing some kind of operation. She also lets him know the rank and file is a little nervous about whatever’s going on, but Isaac’s only concerned about one person: Abby. From the sound of it, she and most of her crew have all disappeared over the past few days. We’ve seen what happened to Nora, Manny is still around, but Owen and Mel are gone without a trace. Again, Isaac isn’t concerned with them. He’s nervous that they’re going into whatever operation they’re planning without Abby. Park is clearly exhausted by this lane of thinking and asks why he cares so much about the girl.Image: HBOShe starts off asking why one “great” soldier is so important when they have an army, and then gets into a weird aside where she exasperatedly asks Isaac if he’s harboring feelings for the girl when he’s at least 30 years her senior. I don’t know if this line is supposed to be a joke, but it’s not funny, even though Isaac laughs at it. She acknowledges it’s an out-of-pocket question, but says he “wouldn’t be the first old man” to make decisions based on such inappropriate impulses. As much as it’s a stupid thing for Park to say, it’s also a stupid thing for the writers room to nonchalantly whip out in a humorous fashion given The Last of Us’ history of old men preying on young women with the character of David. Why write this non-joke into your script if you don’t want viewers to possibly view his fixation on Abby as potentially untoward? Isaac’s following speech focuses on the preservation of his militia, in a very similar way to how David’s preoccupation with Ellie in season one was born from the cannibal’s warped views on longevity, and if you’re not trying to make this direct connection, why even gesture at it? Yeah, I don’t imagine anyone considered the optics of this obviously flippant, throwaway line, but Christ, if you’re that desperate for a joke or moment to cut the tension, this was the best you could come up with? Amateur shit.Isaac sits Park down and tells her why he cares so much about one soldier. He says there’s a very strong chance that the W.L.F. leadership will be dead by tomorrow morning. If that happens, who can lead the militia in their stead? He wanted it to be Abby. It was “supposed” to be her.“Well she’s fucked off, Isaac,” Park says as she leaves. “So maybe it wasn’t.”We go back to the Jackson crew as Ellie and Jesse reach the rendezvous point in a bookstore, and Tommy isn’t here. The place is in bad shape like most places are in this city, but Ellie gravitates to the children’s books section. She picks up an old Sesame Street book, the Grover classic The Monster at the End of This Book, and picks it up for the bun in the oven as Jesse says she picked a good one. As the quiet creeps in on the two, Ellie tries to break the silence by clarifying what happened, but Jesse says they have enough problems for the moment, so he wants to bury the issue.He says he loves Dina, but not in the same way Ellie does. He remembers a group that passed through Jackson, and how there was a girl he fell hard for. She asked him to leave with her to Mexico, but he declined because he’d found purpose and community in Jackson, and he was taught to put others first. People look to him to become the “next Maria” and lead the town, and he couldn’t abandon them for a girl he’d known for two weeks, even if she made him feel things he’d never felt before.Ellie immediately sees through this story. It’s not about him pointing out how he’s felt love and knows that he and Dina aren’t the real deal; it’s about how she’s putting her own needs and wants ahead of everyone else’s.“Okay, got it,” Ellie says. “So you’re Saint Jesse of Wyoming, and everyone else is a fucking asshole.”“You can make fun of me all you want,” Jesse responds. “But let me ask you this, Ellie: If I go with that girl to Mexico, who saves your ass in Seattle?”Before she can reply, they hear W.L.F. radio chatter about a sniper taking out a squad and assume it’s gotta be Tommy. The two head out to higher ground to get a better look, and Ellie sees a Ferris wheel in the distance. She finally puts Nora’s final words together: Abby is in the aquarium at the edge of the city. Immediately, her focus shifts away from Tommy as she starts trying to figure out how to reach Abby’s apparent hiding spot. Jesse is confused and says that Tommy’s got the W.L.F. pinned down in the opposite direction. Ellie starts coming up with justifications for her plan. They don’t know if that’s actually Tommy. If it is him, he’s got the group pinned down. Either way, he would want her to go after Abby to avenge Joel. Ellie doesn’t understand why Jesse is so against this. He voted to go after Abby’s crew back in Jackson, right?Image: HBONo, actually. He didn’t. He believed this vendetta was selfish and “wasn’t in the best interest of the community.” That sets Ellie off.“Fuck the community!” she screams. “All you do is talk about the fucking community, you hypocrite. You think you’re good and I’m bad? You let a kid die today, Jesse. Because why? He wasn’t in your community? Let me tell you about my community. My community was beaten to death in front of me while I was forced to fucking watch. So don’t look at me like you’re better than me, or like you’d do anything differently if you were in my shoes, because you’re not, and you wouldn’t.”Jesse takes a beat, then tells Ellie he hopes she makes it to the aquarium as he leaves. While this scene does exemplify the show’s typicalal “no subtext allowed” approach to writing that I find so irksome, the storyline of Ellie feeling ostracized by the people of Jackson while constantly being told that she must make compromises for them even as they are incapable of extending the same to her is one of the few embellishments The Last of Us makes that resonates with me. It’s easy to write off Ellie’s revenge tour as a selfish crusade that puts everyone else in harm’s way, but when she’s also one of the few out queer people in a town that mostly coddles bigotry and she’s being constantly belittled and kept from doing things she wants to do like working on the patrol team, why would she feel any kinship to this community? Now, when she’s so close to her goal that she can almost taste it, Jesse wants her to consider the people of Jackson? Why should she do that? They’re hundreds of miles away, and the only people who came to save her and Dina were the ones who already cared about her. Ellie’s disillusionment with her neighbors is one of the few additions to the story that The Last of Us manages to pull off.Ellie reaches the harbor from which she can use a boat to reach the aquarium and finds several Wolves meeting up on vessels heading somewhere off the coast. Isaac is here leading the charge, but it’s unclear where they’re going or what they’re doing. Game fans have the advantage of knowing what’s going on, but the W.L.F. storyline feels underbaked in this season, which is one of the real issues with the show dividing the game’s storyline into multiple seasons. During this section of the game, you get a sense that there’s an untold story happening in the background, and you can learn more about it through notes you can find in the environment and ambient dialogue from enemies. The show doesn’t have those same storytelling tools, so I wouldn’t be surprised if newcomers felt a little disoriented every time we hopped over to Isaac.Once the W.L.F. forces make their way wherever they’re going, Ellie finds one of the spare boats and starts to make her way to the aquarium. The storm is hitting hard, though, and the tide is not on her side. A giant tidal wave knocks her out of the boat and into the sea.As she washes up onto the shore, Ellie hears Seraphites whistling as a group of them descends upon her. She’s too weak to get onto her feet and run, so the cultists grab her and carry her to a noose hanging from a tree in the woods. She screams that she’s not a Wolf and that she’s not from here, but they don’t listen. As they wrap the noose around her neck and start to hoist her upward, a horn sounds off in the distance. The lead Scar says to leave her, their village is in danger, so I guess that’s what the W.L.F. operation is targeting? This concludes our latest little exposition detour, as Ellie gets right back into the boat to the aquarium.Image: HBOShe manages to reach the building and finds a broken window through which to enter. Inside, she finds several makeshift beds. Whatever Abby’s doing here, she’s not alone. As Ellie makes her way deeper into the aquarium, she finds a ton of medical supplies, including bloody bandages and surgical equipment. Was Abby injured? Is that why she’s been missing in action as the W.L.F. undergoes a huge, all-hands-on-deck mission? Who’s to say?Quick sidenote: When Ellie infiltrates the aquarium in the game, she’s attacked by a guard dog named Alice. The W.L.F. used trained canines in their war against the Seraphites, but that element has been notably absent from the show. Between this and sparing Shimmer from her explosive fate, The Last of Us has been toning down the animal murder.Ellie keeps walking through the desolate aquarium and eventually finds fresh footsteps. She follows them and soon finds their source: Abby’s friends Owenand Mel. The two are arguing about something, though it’s not clear what. Owen wants to go somewhere behind enemy lines, even in the midst of the battle Isaac has just initiated. He says he doesn’t have a choice because “it’s Abby.” Mel says he does have a choice and so does she, and the Abby of it all is why she’s not going along with whatever the plan is. Owen says he’ll do it on his own, and if Mel’s still here when they get back, she can “keep going with.” Either way, Owen’s leaving. Mel let’s out a hearty “fuck you, Owen” before realizing that Ellie is there. Sure seems like there’s a whole other story that’s been going on while we’ve been hanging out with Ellie, huh? I wonder if we’ll ever get any further insight into whatever this is. Perhaps in a season entirely dedicated to the other side of what’s going on in Seattle? Maybe in a couple years it might premiere on HBO Max? That would be something!Ellie holds the two at gunpoint and tells them to put their hands up. When she asks where Abby is, Owen realizes who she is and points out that he was the one who kept her alive. Ellie isn’t swayed by this, so he says they don’t know where Abby went. But, of course, they were just talking about her, so Ellie knows that’s not true. She spots a map on the table and decides to pull out an old Joel Miller standard: She tells Mel to bring her the map and point to where Abby is, saying that next she’s going to ask Owen the same question, and the answers had better match. Owen looks at Mel and says that Ellie will kill them either way, so there’s no reason to comply. Ellie says she won’t because she’s “not like” them. When she crosses state lines to torture and kill someone who killed somebody important to her, it’s very different than when they do it, of course.Owen stops Mel from grabbing the map by saying he’ll do it. He slowly turns to the table, but instead of picking up the map, he grabs a handgun stowed under it. Ellie is quick with her trigger finger and shoots him right in the throat. The bullet goes straight through him, and hits Mel in the neck as well. She falls onto her back and, instead of cursing Ellie, she asks for her help. Not to save her life, but someone else’s. She opens her jacket to reveal her pregnant belly, and asks if Ellie has a knife to cut the baby out of her before she dies. Ellie is in shock and doesn’t know what to do. Mel tells her she just needs to make one incision. That isn’t enough direction, and Ellie panics. She doesn’t know how deep or which direction to cut. As Mel starts to become delirious, she repeats “love transfers” and then asks Ellie if the baby is out. But she hasn’t even made one cut. Mel finally drifts off, and Ellie realizes it’s too late. She sits there until, eventually, Tommy and Jesse find her. Tommy attempts to comfort her, but she’s in shock and doesn’t speak. Finally they leave and head back to the theater.Naughty Dog / Cinematic GamingWhy can’t this show stop giving the audience outs to not turn against its leads? The death of Mel, specifically, feels like the show bending over backward to teach Ellie a lesson without laying blame at her feet. Mel’s death here is an accident. She’s an innocent bystander who dies because Owen and Ellie made choices, and she was, quite literally, caught in the crossfire. In Part II, by contrast, Mel “shot first.” Well, she tried to stab Ellie, but that doesn’t have the same ring to it. Ellie reacts in self-defense and stabs her right back, but she did it fully knowing she was about to send Mel to an early grave. The gut punch Ellie feels upon learning that she’s pregnant is a moment of dramatic irony, because the game’s shifting perspectives had already revealed her pregnancy to the player way back in the opening hours. So when you’re slamming the square button to fight back, you know that Mel isn’t the only one about to reach her untimely end. Here, she doesn’t even get that moment of agency to fight to protect herself. She’s just collateral damage. It’s a small but important distinction. At this point in the show, Mel’s only real trait is a clear distaste for Abby’s violence, and now, when she finally shows up again, she’s just an unintended victim of Owen pulling a gun on Ellie. Sure, season three will fill in those gaps, but the end result will be the same. Mel died not because she was fighting back, but because she was an inch too far to the left.Then there’s the matter of her pregnancy. Again, in the game players already knew about this by the time Ellie reached the aquarium, while the show kept it secret until the end. It’s hard not to see this last-minute reveal as a knife being twisted for shock value, but that’s only half the problem. My friend Eric Van Allenwould often joke with his college friends about how Michael Caine’s characters in Christopher Nolan films so often show up just to tell you, the viewer, in very literal terms what the story is about. Throughout most of this season, Gail has been this character, the one burdened with the heavy task of diegetic literary analysis, but Mel’s delirious “love transfers” line may be even sillier than anything Gail spouts; homegirl is bleeding out and telling Ellie that pain is not the only thing we inherit from our parents? Just one week after Joel tearfully told Ellie that he hopes she does better when she has a kid than he or his abusive cop father did?Perhaps in a show that hadn’t already spent two seasons using literalism as a writing crutch, Mel speaking her final hopes for her unborn child might have landed for me. But I think I’m just too jaded towards it now for even what should have been a genuine expression to feel like anything other than a heavy-handed, patronizing declaration of what lessons I’m supposed to take away from the story. I don’t think characters overtly communicating their beliefs and feelings about a situation is an inherently poor way of writing dialogue. In fact, some of my favorite works have managed to execute this well thanks to strong acting and stories that lent themselves well to this style of writing. The Last of Us, a series that often relishes in grounded dialogue that forced you to read between the lines and unearth that meaning yourself, the Last of Us show’s inability to let nearly any emotion, belief, or theme go unspoken feels so contrived and tiresome that even someone expressing something thematically resonate feels like being told what to feel. Mel uses her last words to tell me the themes of the story. Just in case I forgot. Thank you, Last of Us show, I don’t know how I would have ever understood your thematic richness if you didn’t make your characters tell me about it, even in their death gasps.The group makes it back to the theater and Ellie is still in shock, so much so that she doesn’t even look at Dina as she enters the building. Some time passes, and Tommy and Jesse are mapping out their route home on the stage. The storm is still pretty rough, so they’ll stay overnight and hope the sun is out when they wake up. Ellie finally joins the group, and Tommy reassures her that Mel and Owen played their part in Joel’s death, and they made the choices that brought them to that fateful end. Ellie can only fixate on what she didn’t get to do.“But Abby gets to live,” she says.“Yeah,” Tommy responds. “Are you able to make your peace with that?”“I guess I’ll have to,” she says, defeated.She looks to Jesse, who won’t even look up at her. Tommy realizes they might have something to talk about and walks to the lobby to pack. After some awkward silence, Ellie thanks Jesse for coming back for her, even though he had no reason to after the way they clashed.“Maybe I didn’t want to,” he says. “Maybe Tommy made me.”“Did he?” Ellie asks.After a second of contemplation, Jesse drops the act and says, “No.”“Because you’re a good person,” Ellie responds.“Yeah,” Jesse agrees. “But also the thought did occur, that if I were out there somewhere, lost and in trouble, you’d set the world on fire to save me.”Ellie says she would, and the two finally see one another, even if just for a moment. Jesse acknowledges that Ellie’s vendetta isn’t entirely selfish, and that when it comes to defending the people she cares about, dead or alive, you won’t find someone more loyal in all of Jackson. It’s good that they finally had this moment of connection after all this drama. But damn, I miss Ellie and Jesse being bros, and I miss her giving him shit for being a sap in these final moments. But most of all, I miss that dopey good ol’ boy with a heart of gold saying his friends “can’t get out of their own damn way.”All that understanding is short-lived, as the two hear some ruckus in the lobby, grab their guns, and book it to the entrance. The second Jesse opens the door, bam. A gunshot rings out in the lobby, and he is on the floor. We don’t even see that it was Abby who fired it until after we get a gnarly shot of him with his face blown open. He’s gone. It was instant. The Last of Us Part II tends to draw out death. It’s either long and torturous like it was for Joel or Nora, or it’s short like Owen’s and Mel’s, but in any case, the game typically lingers on the fallout for a bit. Jesse’s death, by contrast, happens so fast that you can’t even process it before you have to deal with the situation at hand. The show follows suit, and it’s recreated practically shot for shot. But that’s hardly the most disorientingthing that happens in these final minutes.“Stand up,” Abby growls forcefully from the other side of the desk Ellie has taken cover behind.She repeats herself: “Stand. Up. Hands in the air or I shoot this one, too.”Ellie can see Tommy on the ground with a pistol aimed right at his head. He tells Ellie to just run, but she tosses her gun where Abby can see it and crawls out from cover. Abby recognizes her immediately. Ellie asks her to let Tommy go, to which Abby replies that he killed her friends. Ellie says no, she did.“I was looking for you,” Ellie says. “I didn’t mean to hurt them. I know why you killed Joel. He did what he did to save me, I’m the one that you want. Just let him go.”Naughty Dog / VGS - Video Game SophistryHm. Okay. We’re almost at the end. I gotta get another little quibble in before the curtains close. I mean, come on, we’ve been through seven episodes of me complaining together. You can’t take one last gripe? This line from Ellie is slightly altered to account for the fact that she knows more about Abby in the show than in the game, and it means we miss one of the most important subtle interactions in all of the story. As I mentioned earlier, Ellie doesn’t know anything about Abby’s father in Part II. She assumes that Abby killed Joel because he took away any chance of the Fireflies developing a cure, so she cites that in this high-stakes moment. The original line is almost identical to the one in the show, but instead, Ellie says “there’s no cure because of me” and suggests that killing her would be the extension of Abby’s presumed vendetta. Then, we get some incredible, subtle acting from Abby actor Laura Bailey, who hears what Ellie’s saying, has a brief moment of angry disbelief on her face, and then scoffs under her breath before picking right back up where she left off. In just a few seconds, you see Abby realize that, after everything, these fuckers have no idea how much pain she’s been through over the past five years. But they’re not worth the breath it would take to explain herself. They don’t deserve to know the man her father was and what he meant to her. All that matters right now is that Ellie pays for what she’s done.Abby still views herself as the righteous one here, as she points out that she let Ellie live when she did not have to do that. It turns out that Ellie wasn’t deserving of her mercy, that she squandered it by killing her friends. Part of me has wondered if all the exposition-heavy dialogue in this show, such as Dever’s villain monologue in episode two before she murdered the shit out of Joel, was written to give its actors more words to say in front of a camera. When you’ve got big names like Kaitlyn Dever, Catherine O’Hara, and Pedro Pascal in your cast, you don’t want them to not talk, right? But all these elongated exchanges have also robbed actors like Dever of those subtle moments. Hell, she led an entire film with next to no dialogue in 2023’s No One Will You, and was great in it, so she has the chops to pull off that kind of acting. Communicating something through body language and expression is just as powerful as a poetic piece of dialogue, but this show rarely, if ever, understands that.Image: HBOAnyway, Abby says that Ellie wasted the chance she was given when the ex-Fireflies spared her, and points her gun right at Ellie. We hear a bullet fire and Ellie shouts before a hard cut to black. But wait. That’s the season finale? You expect us to wait for two years, probably, to find out what happened? Well, about that. You will probably have to wait even longer.We do have one more scene this season, however: a flashback. We see Abby lying down on a comfy couch with an unfinished book resting on her stomach. She’s in a deep sleep before Mannyloudly enters the room and wakes her up. He says Isaac wants to see them, and she stirs awake. She gets up and walks out of this cozy living space and into a giant football stadium. The entire field has been repurposed for agriculture, manufacturing, and housing. Abby takes a second to look at the whole operation before heading to Isaac’s, but the camera lingers over the field as bold white text flashes on the screen: Seattle, Day One.Alright, TV newbies, welcome to the second divisive twist of The Last of Us Part II. In the game, the player goes through Ellie’s three days in Seattle, killing Abby’s friends and mostly ignoring the war between the W.L.F. and the Seraphites. Meanwhile, Abby has been kind of an enigma the whole time. Every time Ellie finds a new lead, Abby has already come and gone. When Abby finally shows up at the theater for another round of vengeance, it’s clear that a lot of the story happening in this game has happened off-screen. That’s because you’re about to see an entirely different perspective on the last three days, and you’re going to play as Abby when you do it.As you can imagine, this shit drove some players nuts at the time, and you’ll still find angry people online complaining about it to this day. For all my problems with this season, I have to commend the show for actually going for it. HBO has taken the coward’s route in adapting this story for so long, it’s almost surprising that it’s ending here and, from the sound of it, season three will be entirely about Abby and what she’s been doing these past three days. It’s very likely we won’t see Ellie again until next season’s finale after we’ve followed Dever’s character for several episodes. Despite some ham-fisted attempts by the show to build sympathy for Abby early on, it seems like swaths of TV newbies still demand blood. Will viewers complain for an entire season as Dever takes on the lead role? I’d like to think they won’t. I hope that new audiences are more open to her than the worst people you’ve ever met were when the game launched.Despite all the golf club swings I’ve taken at this show, I’m looking forward to examining it further as HBO rolls out the next two seasons. The Last of Us Part II is one of my favorite games of all time, but I genuinely fucking hated The Last of Us’ second season. I don’t expect my feelings to improve in season three. At this point, the rot of Mazin’s poor creative decisions runs too deep for the show to be salvaged and reach the highs of the games. But if nothing else, it’s been a rewarding ride. Thank you for joining me on this seven-week journey. I think I’m due for a replay of The Last of Us Part II to wash off this stink. This shit was ass, HBO. I’ll see you in the ring again next time.
    #last #season #two #episode #seven
    The Last Of Us Season Two, Episode Seven Recap: Abby Road
    We made it, everybody. We’ve reached the end of HBO’s The Last of Us. Wait, sorry, I’m getting word in my earpiece that…we’re only halfway done with it because this show’s going for four seasons. At this point, I’m mostly feeling deflated. Last week’s episode was such a catastrophic bummer that it cemented for me that the show fundamentally misunderstands The Last of Us Part II, the game this season and those that are still yet to come are adapting. But you know how your mother would tell you not to play ball in the house because you might accidentally break the priceless vase on display in the living room? Well, if you’ve already broken the vase, you might as well keep playing ball, so we’ll probably be doing this song and dance into 2029. For now, we’re on the season two finale, which essentially wraps up Ellie’s side of this condensed revenge story and reveals the premise of season three. Most game fans probably assumed this was where the season would end and, if nothing else, it’s still a bold cliffhanger to leave off on.Suggested ReadingNintendo Switch 2 Price Is Set at for Now, But Could Go Higher Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at for Now, But Could Go Higher Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at for Now, But Could Go HigherGuilty as chargedAfter last week’s flashback-heavy episode, we open on Jessetending to wounds the Seraphites have inflicted on Dina, which means we get a real heinous scene of him doing some amateur surgeon’s work to remove the arrow she took to the knee. He douses it in alcohol and offers her a sip to dull the pain, but she staunchly refuses without explaining why. They made Jesse an asshole in this show, but he’s still a smart guy. The gears start turning in his head about why she might turn down a swig right now. Nevertheless, he takes that motherfucker out with no anesthetic, booze, or supportive bedside girlfriend to help Dina through it.Speaking of the absent girlfriend, Elliefinally returns to their theater base of operations. Now that she’s back, all her concern is on Dina, but Jesse is still wondering where the hell she’s been this whole time. Dina is resting backstage, and even though we only see these details for a few minutes, I once again want to shout out the set designers who recreated this little safe haven, which is covered in old show posters and graffiti from bands and artists that performed there before the cordyceps took over. I’m sure Joel would have loved to have seen it.Dina stirs awake and Ellie checks her wound. Jesse’s effort to wrap the injury leaves a lot to be desired, but it should heal in time. Ellie asks if the baby’s alright, and Dina says it’s okay.“How do you know?” Ellie asks.“I just do,” Dina replies.The one who is not okay in the room is Ellie, who is bleeding through the back of her shirt. Dina helps her undress and starts to clean the scratches on her back. As she does, she asks what happened while they were separated. Ellie says she found Nora, and she knew where Abbywas, but only said two words: “Whale” and “Wheel.” Ellie says she doesn’t know what it meant. It could have been nonsense. She was infected, and it was already starting to affect her cognitive state.“I made her talk,” Ellie whispers. “I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.”Image: HBODina asks if Ellie killed her, but she says she just “left her,” meaning that somewhere in this timeline, Nora is wandering the depths of a Seattle hospital with broken legs and an infected mind. I thought the show couldn’t possibly concoct a worse fate for her than what happens in the game, but they found a way. It takes commitment to put down a character like showrunners Craig Mazin and Neil Druckmann have done for Nora across both video games and television. Personally, I think when you already know that people are wary of the way you treat one of the few Black women in your franchise as if she doesn’t deserve the same dignity as everyone else, maybe you should do better by her when given a second chance, rather than worse. But that’s just me. I’m not the one being paid a bunch of money to butcher this story on HBO Max every Sunday at 9 p.m. Eastern. So what do I know?Maybe this is just part of the contrived sadism the show has attached to Ellie. She thinks violence is easy and it comes naturally to her, so I guess she would beat a woman nearly to death until the fungal infection made her lose her mind. Meanwhile the game version is so traumatized by what she’s done in this moment, she’s practically speechless by the time she reaches the theater. God, I knew this shit was going to happen. Mazin has repeatedly insisted that Ellie is an inherently violent individual, something he’s communicated both in interviews and by having Catherine O’Hara’s Gail, the therapist who tells you what the story is about, say that she’s always been a sadist, probably. Now, when we get to moments like the post-Nora debrief which used to convey that Ellie is Not Cut Out For This Shit, the framing instead becomes “Ellie likes violence and feels bad about how much she likes violence.”Before The Last of Us Part II came out, a lot of Naughty Dog’s promotion for the game was kind of vague and even deceptive in an effort to keep its biggest twists under wraps, and some of the messaging it used to talk about the game’s themes have irrevocably set a precedent for how the game’s story is talked about years later. When the game was first revealed in 2016, the studio said the story would be “about hate,” which paints a much more destructive and myopic picture of Ellie’s journey than the one driven by love and grief she actually experiences through the course of the game.One of the most annoying things about being a Last of Us fan is that its creators love to talk about the series in ways that erase its emotional complexity, making it sound more cynical and underhanded when the actual story it’s telling is anything but. I can’t count how many times I’ve heard people reductively parroting notions that The Last of Us Part II is just about “hate” and “guilting the player” for taking part in horrifying actions when they literally have no choice but to do so, rather than cracking the text open and dissecting that nuance. Mazin’s openly-expressed belief that Ellie is an intrinsically bloodthirsty person similarly bleeds into how a lot of the public perceives her as a character, seeing her as a violent ruffian rather than a grieving daughter who was only ever taught to express her pain by inflicting it on those who made her feel it in the first place. Discussing these games as a fan means having to fight against these notions, but they’re born from a game built on subtext, and thus willingly opens itself to those interpretations.Its willingness to dwell in ambiguity only makes it a more fascinating text to unpack, or it would, if we lived in a world where discussing video games wasn’t a volatile experience in which you constantly run the risk of being targeted for performative online dunks, or running up against rabid console tribalism. Now, the Last of Us show has decided to lean into the most boring interpretation of what this story is about without an ounce of subtlety, nuance, or even sympathy for Ellie’s plight. She is a sadist who does terrible things not simply because she’s grieving her father figure, but because this is just who she is. Mazin has deemed it so, and here we are, and this vision of her will no doubt weave itself into the fabric of how we talk about Ellie Williams, even in the game.This story only has any thematic weight if Ellie’s violent outbursts are rooted in pain, not pleasure. Yeah, what we’re seeing in the show is her acting from a mix of those things but, in the game at least, the most affecting moments of Ellie’s Seattle revenge tour happen when she has to confront how she is not built for acts of violent excess in the same way Joel was. She never has been. Back in Part I, she was sick to her stomach when she committed her first kill to save Joel, and the entire point of Part II was that we see her cut off parts of herself to do what she feels she must, only to find that she’s unable to recognize herself when it’s all over. In the show, she is instead mesmerized by carnage, only to decide she doesn’t like that she feels that way, actually. But all this self-reflection is fleeting, because she’s only killed one person on her list, and there’s a lot more work to do. How many Joels is Nora’s life worth to Ellie? One-fifth?While Ellie is wrestling with these feelings, Dina is about to see things with more clarity than ever. At first, she says that Nora may have deserved this fate worse than death, to which Ellie says “Maybe she didn’t,” before telling her girlfriend everything. She tearfully recounts Joel’s massacre of the Fireflies at the base in Salt Lake City, how the group was going to use her immunity to create a cure, and how Joel killed Abby’s father to save her. Dina puts it all together and asks Ellie if she knew who Abby’s group was. She says she didn’t, but she did know what Joel did. Dina sits with that for a moment, then flatly says the group needs to go home.So I guess this is how the show gets Dina, who’s been pretty revenge-hungry thus far, back onto the track she’s on in the games. Without spoiling scenes in the late game for the uninitiated, some major points of conflict at the end of Part II require her to be less on-board with Ellie’s vendetta, so the fact that she’s been egging her girlfriend on to track down Abby was an odd choice. I wasn’t sure how the show would handle it down the line, but it seems the way HBO’s show has course-corrected was by having her condemn Joel’s actions. Dina had her own relationship with the old man in the show, so I imagine that in a later season she’ll interrogate how she feels about him in light of this new information, but having her more or less get off the ride when she learns what Joel has done sets up a contrast between her and Ellie that I’m curious to see how the show handles.The shame of it, though, is that this is just one more thing that undermines one of the core foundations of the source material, and I have to get at least one more jab in on this topic before we end the season. In The Last of Us Part II, when you look at what is actually expressed in dialogue, you see that characters are often lacking important information about each other. This lack of communication is an important part of its storytelling, but the show is instead having characters tell everyone everything. In Part II, Joel and Ellie don’t know who Abby’s father was. It’s strongly implied that no one other than Joel, Ellie, and Tommy knew about what happened in Salt Lake City, not even Dina. The more the show bridges these gaps of communication, the more senseless this entire tit-for-tat feels. To be clear, it was senseless in the game, but it was in a tragic, “these people are so blinded by their emotions that they can’t fathom another path forward” sort of way. This time around, everyone knows exactly what’s happening and chooses to partake in violence anyway. We don’t have any mystery or lack of communication to fall back on as a we struggle to understand why the characters keep making these self-destructive decisions. Everyone is just knowingly the worst version of themselves this time around, and I guess Mazin thinks that’s the point, which is the kind of boring interpretation that makes the show such an inferior version of this story.Family mattersWe now begin our third day in Seattle. Ellie and Jesse are packing up to get going in the theater lobby. The plan is to find Tommysomewhere in the city and then head back to Jackson. However, Jesse is a lot less talkative this morning. Dina limps into the lobby, and after a brief scolding for being on her feet, she gives Ellie a bracelet for good luck.“I’m not sure it’s been working for you,” Ellie jokes.“I’m alive,” Dina replies.Jesse is clearly uncomfortable watching his exgive Ellie a prized possession, and says he can go alone if Dina wants Ellie to stay. Ellie says they’ll be safer together. Jesse relents and says they should be back by sundown. The tension is radiating off him, but the pair leaves Dina in the safety of the theater.Image: HBOEllie and Jesse awkwardly walk through the remains of Seattle. She finally breaks the silence by asking how he found Ellie and Dina’s theater base. He recounts his two days of tracking, giving a shoutout to the horse Shimmer who’s still vibing in the record store the girls left her at, but he’s clearly pissed. Ellie assumes it’s because he and Tommy had to cross state lines to come find them, but no, there’s something else on his mind. Why do Ellie and Dina look at each other differently? Why did Dina turn down a free drink for the first time in her life? He’s putting it all together. Dina and Ellie are no longer just gals being pals, and hisgirlfriend is pregnant.“None of this has to change things between us,” Ellie says.“Everything changing doesn’t have to change things?” Jesse asks. “Well, how about this for something new: I’m gonna be a father, which means I can’t die. But because of you, we’re stuck in a warzone. So how about we skip the apologies and just go find Tommy so I can get us and my kid the fuck out of Seattle?”Wow, okay. Judgey, much? I mean, you’re right, Jesse. This is a no good, very bad situation, and Ellie has put your kid in danger and won’t even tell you she was torturing a woman last night. But god, I miss kindhearted Jesse. I miss Ellie’s golden retriever best friend who, when finding out Dina was pregnant, firmly but gently told Ellie it was time to get the fuck out of Seattle. Now that the show has created a messy cheating love triangle out of these three, I’m once again reflecting on how The Last of Us Part II could have very easily made this storyline a dramatic, angry one, and instead it was one of the brighter spots in a dark tale. Meanwhile, in the show, the whole thing feels like it’s regressed to a rote and predictable earlier draft of the story that’s much less refreshing and compelling than the one we already know. Justice for Jesse. This is character assassination of the goodest boy in all of Jackson. Well, actually, that’s Abby’s job. Sorry, sorry. That’s actually not for another 35 minutes.As the two move further into the city, they see more art praising the Seraphite prophet on the buildings, but she looks notably different than in images we’ve seen previously. This art depicts a Black woman, whereas others have typically portrayed the prophet as white. Ellie wonders aloud if there’s “more than one of her.” Jesse says it’s possible, but ushers her forward as rain starts pouring down. I’m curious what the show might be doing here, as this is a divergence from Part II. Could the Seraphites be a kind of polytheistic group in the show that follows multiple prophets? Could they believe the Prophet was reincarnated into a different woman at some point? All we can do is theorize, but we haven’t seen much of the Seraphites this season so we don’t have much to go on. Which is by design, and feels pretty in-line with Part II, which didn’t tell you much about the group during Ellie’s three days in Seattle. We’ll pick this thread back up next season, I’m sure.The pair takes shelter but before they can catch their breath, they hear the popping sound of gunfire nearby as a W.L.F. squad corners a lone Seraphite. Ellie and Jesse watch in horror as the wolves strip and drag him away. Just as Ellie nearly gets out from cover to intervene, Jesse pulls her back. Once the coast is clear, Ellie walks away in a huff. As Jesse follows, he points out that they were outnumbered and would have lost that fight.“He was a fucking kid!” Ellie shouts.“Ellie, these peopleshooting each other, lynching each other, ripping each other’s guts out,” Jesse says. “Even the kids? I’m not dying out here. Not for any of them. This is not our war.”Who the fuck is this man? I touched on it in episode five, but what is with this show putting all of Ellie’s unlikable traits on other characters so she keeps getting to be the hero? Jesse turns from a selfless guardian into a selfish asshole who will watch a kid get tortured to save himself while Ellie is suddenly very concerned about a war that, in the game, she seemed largely indifferent to. It’s as if The Last of Us’ second season is so concerned with us liking Ellie and feeling like we can root for her that it’s lost sight of anything else.So Jesse gets to be the belligerent asshole and Dina gets to be the revenge-driven one in the relationship. Ellie? She’s just bee-bopping through spouting cool space facts, and so when she tortures Nora, it feels like tonal whiplash. I don’t recognize Jesse. Most of the time, I don’t recognize Ellie. But really, the more I watch this show, the more I hardly recognize anyone, and I don’t have any faith in the series to figure these characters and their relationships out, even if it’s going to go on for two more seasons.Will the circle be unbroken?We shift away from the Jackson crew to check in on Isaac, who we haven’t seen in a few episodes. Sergeant Parkupdates the W.L.F. boss that the incoming storm will get worse as the day goes on, but even so, the group is still preparing some kind of operation. She also lets him know the rank and file is a little nervous about whatever’s going on, but Isaac’s only concerned about one person: Abby. From the sound of it, she and most of her crew have all disappeared over the past few days. We’ve seen what happened to Nora, Manny is still around, but Owen and Mel are gone without a trace. Again, Isaac isn’t concerned with them. He’s nervous that they’re going into whatever operation they’re planning without Abby. Park is clearly exhausted by this lane of thinking and asks why he cares so much about the girl.Image: HBOShe starts off asking why one “great” soldier is so important when they have an army, and then gets into a weird aside where she exasperatedly asks Isaac if he’s harboring feelings for the girl when he’s at least 30 years her senior. I don’t know if this line is supposed to be a joke, but it’s not funny, even though Isaac laughs at it. She acknowledges it’s an out-of-pocket question, but says he “wouldn’t be the first old man” to make decisions based on such inappropriate impulses. As much as it’s a stupid thing for Park to say, it’s also a stupid thing for the writers room to nonchalantly whip out in a humorous fashion given The Last of Us’ history of old men preying on young women with the character of David. Why write this non-joke into your script if you don’t want viewers to possibly view his fixation on Abby as potentially untoward? Isaac’s following speech focuses on the preservation of his militia, in a very similar way to how David’s preoccupation with Ellie in season one was born from the cannibal’s warped views on longevity, and if you’re not trying to make this direct connection, why even gesture at it? Yeah, I don’t imagine anyone considered the optics of this obviously flippant, throwaway line, but Christ, if you’re that desperate for a joke or moment to cut the tension, this was the best you could come up with? Amateur shit.Isaac sits Park down and tells her why he cares so much about one soldier. He says there’s a very strong chance that the W.L.F. leadership will be dead by tomorrow morning. If that happens, who can lead the militia in their stead? He wanted it to be Abby. It was “supposed” to be her.“Well she’s fucked off, Isaac,” Park says as she leaves. “So maybe it wasn’t.”We go back to the Jackson crew as Ellie and Jesse reach the rendezvous point in a bookstore, and Tommy isn’t here. The place is in bad shape like most places are in this city, but Ellie gravitates to the children’s books section. She picks up an old Sesame Street book, the Grover classic The Monster at the End of This Book, and picks it up for the bun in the oven as Jesse says she picked a good one. As the quiet creeps in on the two, Ellie tries to break the silence by clarifying what happened, but Jesse says they have enough problems for the moment, so he wants to bury the issue.He says he loves Dina, but not in the same way Ellie does. He remembers a group that passed through Jackson, and how there was a girl he fell hard for. She asked him to leave with her to Mexico, but he declined because he’d found purpose and community in Jackson, and he was taught to put others first. People look to him to become the “next Maria” and lead the town, and he couldn’t abandon them for a girl he’d known for two weeks, even if she made him feel things he’d never felt before.Ellie immediately sees through this story. It’s not about him pointing out how he’s felt love and knows that he and Dina aren’t the real deal; it’s about how she’s putting her own needs and wants ahead of everyone else’s.“Okay, got it,” Ellie says. “So you’re Saint Jesse of Wyoming, and everyone else is a fucking asshole.”“You can make fun of me all you want,” Jesse responds. “But let me ask you this, Ellie: If I go with that girl to Mexico, who saves your ass in Seattle?”Before she can reply, they hear W.L.F. radio chatter about a sniper taking out a squad and assume it’s gotta be Tommy. The two head out to higher ground to get a better look, and Ellie sees a Ferris wheel in the distance. She finally puts Nora’s final words together: Abby is in the aquarium at the edge of the city. Immediately, her focus shifts away from Tommy as she starts trying to figure out how to reach Abby’s apparent hiding spot. Jesse is confused and says that Tommy’s got the W.L.F. pinned down in the opposite direction. Ellie starts coming up with justifications for her plan. They don’t know if that’s actually Tommy. If it is him, he’s got the group pinned down. Either way, he would want her to go after Abby to avenge Joel. Ellie doesn’t understand why Jesse is so against this. He voted to go after Abby’s crew back in Jackson, right?Image: HBONo, actually. He didn’t. He believed this vendetta was selfish and “wasn’t in the best interest of the community.” That sets Ellie off.“Fuck the community!” she screams. “All you do is talk about the fucking community, you hypocrite. You think you’re good and I’m bad? You let a kid die today, Jesse. Because why? He wasn’t in your community? Let me tell you about my community. My community was beaten to death in front of me while I was forced to fucking watch. So don’t look at me like you’re better than me, or like you’d do anything differently if you were in my shoes, because you’re not, and you wouldn’t.”Jesse takes a beat, then tells Ellie he hopes she makes it to the aquarium as he leaves. While this scene does exemplify the show’s typicalal “no subtext allowed” approach to writing that I find so irksome, the storyline of Ellie feeling ostracized by the people of Jackson while constantly being told that she must make compromises for them even as they are incapable of extending the same to her is one of the few embellishments The Last of Us makes that resonates with me. It’s easy to write off Ellie’s revenge tour as a selfish crusade that puts everyone else in harm’s way, but when she’s also one of the few out queer people in a town that mostly coddles bigotry and she’s being constantly belittled and kept from doing things she wants to do like working on the patrol team, why would she feel any kinship to this community? Now, when she’s so close to her goal that she can almost taste it, Jesse wants her to consider the people of Jackson? Why should she do that? They’re hundreds of miles away, and the only people who came to save her and Dina were the ones who already cared about her. Ellie’s disillusionment with her neighbors is one of the few additions to the story that The Last of Us manages to pull off.Ellie reaches the harbor from which she can use a boat to reach the aquarium and finds several Wolves meeting up on vessels heading somewhere off the coast. Isaac is here leading the charge, but it’s unclear where they’re going or what they’re doing. Game fans have the advantage of knowing what’s going on, but the W.L.F. storyline feels underbaked in this season, which is one of the real issues with the show dividing the game’s storyline into multiple seasons. During this section of the game, you get a sense that there’s an untold story happening in the background, and you can learn more about it through notes you can find in the environment and ambient dialogue from enemies. The show doesn’t have those same storytelling tools, so I wouldn’t be surprised if newcomers felt a little disoriented every time we hopped over to Isaac.Once the W.L.F. forces make their way wherever they’re going, Ellie finds one of the spare boats and starts to make her way to the aquarium. The storm is hitting hard, though, and the tide is not on her side. A giant tidal wave knocks her out of the boat and into the sea.As she washes up onto the shore, Ellie hears Seraphites whistling as a group of them descends upon her. She’s too weak to get onto her feet and run, so the cultists grab her and carry her to a noose hanging from a tree in the woods. She screams that she’s not a Wolf and that she’s not from here, but they don’t listen. As they wrap the noose around her neck and start to hoist her upward, a horn sounds off in the distance. The lead Scar says to leave her, their village is in danger, so I guess that’s what the W.L.F. operation is targeting? This concludes our latest little exposition detour, as Ellie gets right back into the boat to the aquarium.Image: HBOShe manages to reach the building and finds a broken window through which to enter. Inside, she finds several makeshift beds. Whatever Abby’s doing here, she’s not alone. As Ellie makes her way deeper into the aquarium, she finds a ton of medical supplies, including bloody bandages and surgical equipment. Was Abby injured? Is that why she’s been missing in action as the W.L.F. undergoes a huge, all-hands-on-deck mission? Who’s to say?Quick sidenote: When Ellie infiltrates the aquarium in the game, she’s attacked by a guard dog named Alice. The W.L.F. used trained canines in their war against the Seraphites, but that element has been notably absent from the show. Between this and sparing Shimmer from her explosive fate, The Last of Us has been toning down the animal murder.Ellie keeps walking through the desolate aquarium and eventually finds fresh footsteps. She follows them and soon finds their source: Abby’s friends Owenand Mel. The two are arguing about something, though it’s not clear what. Owen wants to go somewhere behind enemy lines, even in the midst of the battle Isaac has just initiated. He says he doesn’t have a choice because “it’s Abby.” Mel says he does have a choice and so does she, and the Abby of it all is why she’s not going along with whatever the plan is. Owen says he’ll do it on his own, and if Mel’s still here when they get back, she can “keep going with.” Either way, Owen’s leaving. Mel let’s out a hearty “fuck you, Owen” before realizing that Ellie is there. Sure seems like there’s a whole other story that’s been going on while we’ve been hanging out with Ellie, huh? I wonder if we’ll ever get any further insight into whatever this is. Perhaps in a season entirely dedicated to the other side of what’s going on in Seattle? Maybe in a couple years it might premiere on HBO Max? That would be something!Ellie holds the two at gunpoint and tells them to put their hands up. When she asks where Abby is, Owen realizes who she is and points out that he was the one who kept her alive. Ellie isn’t swayed by this, so he says they don’t know where Abby went. But, of course, they were just talking about her, so Ellie knows that’s not true. She spots a map on the table and decides to pull out an old Joel Miller standard: She tells Mel to bring her the map and point to where Abby is, saying that next she’s going to ask Owen the same question, and the answers had better match. Owen looks at Mel and says that Ellie will kill them either way, so there’s no reason to comply. Ellie says she won’t because she’s “not like” them. When she crosses state lines to torture and kill someone who killed somebody important to her, it’s very different than when they do it, of course.Owen stops Mel from grabbing the map by saying he’ll do it. He slowly turns to the table, but instead of picking up the map, he grabs a handgun stowed under it. Ellie is quick with her trigger finger and shoots him right in the throat. The bullet goes straight through him, and hits Mel in the neck as well. She falls onto her back and, instead of cursing Ellie, she asks for her help. Not to save her life, but someone else’s. She opens her jacket to reveal her pregnant belly, and asks if Ellie has a knife to cut the baby out of her before she dies. Ellie is in shock and doesn’t know what to do. Mel tells her she just needs to make one incision. That isn’t enough direction, and Ellie panics. She doesn’t know how deep or which direction to cut. As Mel starts to become delirious, she repeats “love transfers” and then asks Ellie if the baby is out. But she hasn’t even made one cut. Mel finally drifts off, and Ellie realizes it’s too late. She sits there until, eventually, Tommy and Jesse find her. Tommy attempts to comfort her, but she’s in shock and doesn’t speak. Finally they leave and head back to the theater.Naughty Dog / Cinematic GamingWhy can’t this show stop giving the audience outs to not turn against its leads? The death of Mel, specifically, feels like the show bending over backward to teach Ellie a lesson without laying blame at her feet. Mel’s death here is an accident. She’s an innocent bystander who dies because Owen and Ellie made choices, and she was, quite literally, caught in the crossfire. In Part II, by contrast, Mel “shot first.” Well, she tried to stab Ellie, but that doesn’t have the same ring to it. Ellie reacts in self-defense and stabs her right back, but she did it fully knowing she was about to send Mel to an early grave. The gut punch Ellie feels upon learning that she’s pregnant is a moment of dramatic irony, because the game’s shifting perspectives had already revealed her pregnancy to the player way back in the opening hours. So when you’re slamming the square button to fight back, you know that Mel isn’t the only one about to reach her untimely end. Here, she doesn’t even get that moment of agency to fight to protect herself. She’s just collateral damage. It’s a small but important distinction. At this point in the show, Mel’s only real trait is a clear distaste for Abby’s violence, and now, when she finally shows up again, she’s just an unintended victim of Owen pulling a gun on Ellie. Sure, season three will fill in those gaps, but the end result will be the same. Mel died not because she was fighting back, but because she was an inch too far to the left.Then there’s the matter of her pregnancy. Again, in the game players already knew about this by the time Ellie reached the aquarium, while the show kept it secret until the end. It’s hard not to see this last-minute reveal as a knife being twisted for shock value, but that’s only half the problem. My friend Eric Van Allenwould often joke with his college friends about how Michael Caine’s characters in Christopher Nolan films so often show up just to tell you, the viewer, in very literal terms what the story is about. Throughout most of this season, Gail has been this character, the one burdened with the heavy task of diegetic literary analysis, but Mel’s delirious “love transfers” line may be even sillier than anything Gail spouts; homegirl is bleeding out and telling Ellie that pain is not the only thing we inherit from our parents? Just one week after Joel tearfully told Ellie that he hopes she does better when she has a kid than he or his abusive cop father did?Perhaps in a show that hadn’t already spent two seasons using literalism as a writing crutch, Mel speaking her final hopes for her unborn child might have landed for me. But I think I’m just too jaded towards it now for even what should have been a genuine expression to feel like anything other than a heavy-handed, patronizing declaration of what lessons I’m supposed to take away from the story. I don’t think characters overtly communicating their beliefs and feelings about a situation is an inherently poor way of writing dialogue. In fact, some of my favorite works have managed to execute this well thanks to strong acting and stories that lent themselves well to this style of writing. The Last of Us, a series that often relishes in grounded dialogue that forced you to read between the lines and unearth that meaning yourself, the Last of Us show’s inability to let nearly any emotion, belief, or theme go unspoken feels so contrived and tiresome that even someone expressing something thematically resonate feels like being told what to feel. Mel uses her last words to tell me the themes of the story. Just in case I forgot. Thank you, Last of Us show, I don’t know how I would have ever understood your thematic richness if you didn’t make your characters tell me about it, even in their death gasps.The group makes it back to the theater and Ellie is still in shock, so much so that she doesn’t even look at Dina as she enters the building. Some time passes, and Tommy and Jesse are mapping out their route home on the stage. The storm is still pretty rough, so they’ll stay overnight and hope the sun is out when they wake up. Ellie finally joins the group, and Tommy reassures her that Mel and Owen played their part in Joel’s death, and they made the choices that brought them to that fateful end. Ellie can only fixate on what she didn’t get to do.“But Abby gets to live,” she says.“Yeah,” Tommy responds. “Are you able to make your peace with that?”“I guess I’ll have to,” she says, defeated.She looks to Jesse, who won’t even look up at her. Tommy realizes they might have something to talk about and walks to the lobby to pack. After some awkward silence, Ellie thanks Jesse for coming back for her, even though he had no reason to after the way they clashed.“Maybe I didn’t want to,” he says. “Maybe Tommy made me.”“Did he?” Ellie asks.After a second of contemplation, Jesse drops the act and says, “No.”“Because you’re a good person,” Ellie responds.“Yeah,” Jesse agrees. “But also the thought did occur, that if I were out there somewhere, lost and in trouble, you’d set the world on fire to save me.”Ellie says she would, and the two finally see one another, even if just for a moment. Jesse acknowledges that Ellie’s vendetta isn’t entirely selfish, and that when it comes to defending the people she cares about, dead or alive, you won’t find someone more loyal in all of Jackson. It’s good that they finally had this moment of connection after all this drama. But damn, I miss Ellie and Jesse being bros, and I miss her giving him shit for being a sap in these final moments. But most of all, I miss that dopey good ol’ boy with a heart of gold saying his friends “can’t get out of their own damn way.”All that understanding is short-lived, as the two hear some ruckus in the lobby, grab their guns, and book it to the entrance. The second Jesse opens the door, bam. A gunshot rings out in the lobby, and he is on the floor. We don’t even see that it was Abby who fired it until after we get a gnarly shot of him with his face blown open. He’s gone. It was instant. The Last of Us Part II tends to draw out death. It’s either long and torturous like it was for Joel or Nora, or it’s short like Owen’s and Mel’s, but in any case, the game typically lingers on the fallout for a bit. Jesse’s death, by contrast, happens so fast that you can’t even process it before you have to deal with the situation at hand. The show follows suit, and it’s recreated practically shot for shot. But that’s hardly the most disorientingthing that happens in these final minutes.“Stand up,” Abby growls forcefully from the other side of the desk Ellie has taken cover behind.She repeats herself: “Stand. Up. Hands in the air or I shoot this one, too.”Ellie can see Tommy on the ground with a pistol aimed right at his head. He tells Ellie to just run, but she tosses her gun where Abby can see it and crawls out from cover. Abby recognizes her immediately. Ellie asks her to let Tommy go, to which Abby replies that he killed her friends. Ellie says no, she did.“I was looking for you,” Ellie says. “I didn’t mean to hurt them. I know why you killed Joel. He did what he did to save me, I’m the one that you want. Just let him go.”Naughty Dog / VGS - Video Game SophistryHm. Okay. We’re almost at the end. I gotta get another little quibble in before the curtains close. I mean, come on, we’ve been through seven episodes of me complaining together. You can’t take one last gripe? This line from Ellie is slightly altered to account for the fact that she knows more about Abby in the show than in the game, and it means we miss one of the most important subtle interactions in all of the story. As I mentioned earlier, Ellie doesn’t know anything about Abby’s father in Part II. She assumes that Abby killed Joel because he took away any chance of the Fireflies developing a cure, so she cites that in this high-stakes moment. The original line is almost identical to the one in the show, but instead, Ellie says “there’s no cure because of me” and suggests that killing her would be the extension of Abby’s presumed vendetta. Then, we get some incredible, subtle acting from Abby actor Laura Bailey, who hears what Ellie’s saying, has a brief moment of angry disbelief on her face, and then scoffs under her breath before picking right back up where she left off. In just a few seconds, you see Abby realize that, after everything, these fuckers have no idea how much pain she’s been through over the past five years. But they’re not worth the breath it would take to explain herself. They don’t deserve to know the man her father was and what he meant to her. All that matters right now is that Ellie pays for what she’s done.Abby still views herself as the righteous one here, as she points out that she let Ellie live when she did not have to do that. It turns out that Ellie wasn’t deserving of her mercy, that she squandered it by killing her friends. Part of me has wondered if all the exposition-heavy dialogue in this show, such as Dever’s villain monologue in episode two before she murdered the shit out of Joel, was written to give its actors more words to say in front of a camera. When you’ve got big names like Kaitlyn Dever, Catherine O’Hara, and Pedro Pascal in your cast, you don’t want them to not talk, right? But all these elongated exchanges have also robbed actors like Dever of those subtle moments. Hell, she led an entire film with next to no dialogue in 2023’s No One Will You, and was great in it, so she has the chops to pull off that kind of acting. Communicating something through body language and expression is just as powerful as a poetic piece of dialogue, but this show rarely, if ever, understands that.Image: HBOAnyway, Abby says that Ellie wasted the chance she was given when the ex-Fireflies spared her, and points her gun right at Ellie. We hear a bullet fire and Ellie shouts before a hard cut to black. But wait. That’s the season finale? You expect us to wait for two years, probably, to find out what happened? Well, about that. You will probably have to wait even longer.We do have one more scene this season, however: a flashback. We see Abby lying down on a comfy couch with an unfinished book resting on her stomach. She’s in a deep sleep before Mannyloudly enters the room and wakes her up. He says Isaac wants to see them, and she stirs awake. She gets up and walks out of this cozy living space and into a giant football stadium. The entire field has been repurposed for agriculture, manufacturing, and housing. Abby takes a second to look at the whole operation before heading to Isaac’s, but the camera lingers over the field as bold white text flashes on the screen: Seattle, Day One.Alright, TV newbies, welcome to the second divisive twist of The Last of Us Part II. In the game, the player goes through Ellie’s three days in Seattle, killing Abby’s friends and mostly ignoring the war between the W.L.F. and the Seraphites. Meanwhile, Abby has been kind of an enigma the whole time. Every time Ellie finds a new lead, Abby has already come and gone. When Abby finally shows up at the theater for another round of vengeance, it’s clear that a lot of the story happening in this game has happened off-screen. That’s because you’re about to see an entirely different perspective on the last three days, and you’re going to play as Abby when you do it.As you can imagine, this shit drove some players nuts at the time, and you’ll still find angry people online complaining about it to this day. For all my problems with this season, I have to commend the show for actually going for it. HBO has taken the coward’s route in adapting this story for so long, it’s almost surprising that it’s ending here and, from the sound of it, season three will be entirely about Abby and what she’s been doing these past three days. It’s very likely we won’t see Ellie again until next season’s finale after we’ve followed Dever’s character for several episodes. Despite some ham-fisted attempts by the show to build sympathy for Abby early on, it seems like swaths of TV newbies still demand blood. Will viewers complain for an entire season as Dever takes on the lead role? I’d like to think they won’t. I hope that new audiences are more open to her than the worst people you’ve ever met were when the game launched.Despite all the golf club swings I’ve taken at this show, I’m looking forward to examining it further as HBO rolls out the next two seasons. The Last of Us Part II is one of my favorite games of all time, but I genuinely fucking hated The Last of Us’ second season. I don’t expect my feelings to improve in season three. At this point, the rot of Mazin’s poor creative decisions runs too deep for the show to be salvaged and reach the highs of the games. But if nothing else, it’s been a rewarding ride. Thank you for joining me on this seven-week journey. I think I’m due for a replay of The Last of Us Part II to wash off this stink. This shit was ass, HBO. I’ll see you in the ring again next time. #last #season #two #episode #seven
    KOTAKU.COM
    The Last Of Us Season Two, Episode Seven Recap: Abby Road
    We made it, everybody. We’ve reached the end of HBO’s The Last of Us. Wait, sorry, I’m getting word in my earpiece that…we’re only halfway done with it because this show’s going for four seasons. At this point, I’m mostly feeling deflated. Last week’s episode was such a catastrophic bummer that it cemented for me that the show fundamentally misunderstands The Last of Us Part II, the game this season and those that are still yet to come are adapting. But you know how your mother would tell you not to play ball in the house because you might accidentally break the priceless vase on display in the living room? Well, if you’ve already broken the vase, you might as well keep playing ball, so we’ll probably be doing this song and dance into 2029. For now, we’re on the season two finale, which essentially wraps up Ellie’s side of this condensed revenge story and reveals the premise of season three. Most game fans probably assumed this was where the season would end and, if nothing else, it’s still a bold cliffhanger to leave off on.Suggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at $450 for Now, But Could Go Higher Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at $450 for Now, But Could Go HigherGuilty as chargedAfter last week’s flashback-heavy episode, we open on Jesse (Young Mazino) tending to wounds the Seraphites have inflicted on Dina (Isabela Merced), which means we get a real heinous scene of him doing some amateur surgeon’s work to remove the arrow she took to the knee. He douses it in alcohol and offers her a sip to dull the pain, but she staunchly refuses without explaining why. They made Jesse an asshole in this show, but he’s still a smart guy. The gears start turning in his head about why she might turn down a swig right now. Nevertheless, he takes that motherfucker out with no anesthetic, booze, or supportive bedside girlfriend to help Dina through it.Speaking of the absent girlfriend, Ellie (Bella Ramsey) finally returns to their theater base of operations. Now that she’s back, all her concern is on Dina, but Jesse is still wondering where the hell she’s been this whole time. Dina is resting backstage, and even though we only see these details for a few minutes, I once again want to shout out the set designers who recreated this little safe haven, which is covered in old show posters and graffiti from bands and artists that performed there before the cordyceps took over. I’m sure Joel would have loved to have seen it.Dina stirs awake and Ellie checks her wound. Jesse’s effort to wrap the injury leaves a lot to be desired, but it should heal in time. Ellie asks if the baby’s alright, and Dina says it’s okay.“How do you know?” Ellie asks.“I just do,” Dina replies.The one who is not okay in the room is Ellie, who is bleeding through the back of her shirt. Dina helps her undress and starts to clean the scratches on her back. As she does, she asks what happened while they were separated. Ellie says she found Nora (Tati Gabrielle), and she knew where Abby (Kaitlyn Dever) was, but only said two words: “Whale” and “Wheel.” Ellie says she doesn’t know what it meant. It could have been nonsense. She was infected, and it was already starting to affect her cognitive state.“I made her talk,” Ellie whispers. “I thought it would be harder to do, but it wasn’t. It was easy. I just kept hurting her.”Image: HBODina asks if Ellie killed her, but she says she just “left her,” meaning that somewhere in this timeline, Nora is wandering the depths of a Seattle hospital with broken legs and an infected mind. I thought the show couldn’t possibly concoct a worse fate for her than what happens in the game, but they found a way. It takes commitment to put down a character like showrunners Craig Mazin and Neil Druckmann have done for Nora across both video games and television. Personally, I think when you already know that people are wary of the way you treat one of the few Black women in your franchise as if she doesn’t deserve the same dignity as everyone else, maybe you should do better by her when given a second chance, rather than worse. But that’s just me. I’m not the one being paid a bunch of money to butcher this story on HBO Max every Sunday at 9 p.m. Eastern. So what do I know?Maybe this is just part of the contrived sadism the show has attached to Ellie. She thinks violence is easy and it comes naturally to her, so I guess she would beat a woman nearly to death until the fungal infection made her lose her mind. Meanwhile the game version is so traumatized by what she’s done in this moment, she’s practically speechless by the time she reaches the theater. God, I knew this shit was going to happen. Mazin has repeatedly insisted that Ellie is an inherently violent individual, something he’s communicated both in interviews and by having Catherine O’Hara’s Gail, the therapist who tells you what the story is about, say that she’s always been a sadist, probably. Now, when we get to moments like the post-Nora debrief which used to convey that Ellie is Not Cut Out For This Shit, the framing instead becomes “Ellie likes violence and feels bad about how much she likes violence.”Before The Last of Us Part II came out, a lot of Naughty Dog’s promotion for the game was kind of vague and even deceptive in an effort to keep its biggest twists under wraps, and some of the messaging it used to talk about the game’s themes have irrevocably set a precedent for how the game’s story is talked about years later. When the game was first revealed in 2016, the studio said the story would be “about hate,” which paints a much more destructive and myopic picture of Ellie’s journey than the one driven by love and grief she actually experiences through the course of the game.One of the most annoying things about being a Last of Us fan is that its creators love to talk about the series in ways that erase its emotional complexity, making it sound more cynical and underhanded when the actual story it’s telling is anything but. I can’t count how many times I’ve heard people reductively parroting notions that The Last of Us Part II is just about “hate” and “guilting the player” for taking part in horrifying actions when they literally have no choice but to do so, rather than cracking the text open and dissecting that nuance. Mazin’s openly-expressed belief that Ellie is an intrinsically bloodthirsty person similarly bleeds into how a lot of the public perceives her as a character, seeing her as a violent ruffian rather than a grieving daughter who was only ever taught to express her pain by inflicting it on those who made her feel it in the first place. Discussing these games as a fan means having to fight against these notions, but they’re born from a game built on subtext, and thus willingly opens itself to those interpretations.Its willingness to dwell in ambiguity only makes it a more fascinating text to unpack, or it would, if we lived in a world where discussing video games wasn’t a volatile experience in which you constantly run the risk of being targeted for performative online dunks, or running up against rabid console tribalism. Now, the Last of Us show has decided to lean into the most boring interpretation of what this story is about without an ounce of subtlety, nuance, or even sympathy for Ellie’s plight. She is a sadist who does terrible things not simply because she’s grieving her father figure, but because this is just who she is. Mazin has deemed it so, and here we are, and this vision of her will no doubt weave itself into the fabric of how we talk about Ellie Williams, even in the game.This story only has any thematic weight if Ellie’s violent outbursts are rooted in pain, not pleasure. Yeah, what we’re seeing in the show is her acting from a mix of those things but, in the game at least, the most affecting moments of Ellie’s Seattle revenge tour happen when she has to confront how she is not built for acts of violent excess in the same way Joel was. She never has been. Back in Part I, she was sick to her stomach when she committed her first kill to save Joel, and the entire point of Part II was that we see her cut off parts of herself to do what she feels she must, only to find that she’s unable to recognize herself when it’s all over. In the show, she is instead mesmerized by carnage, only to decide she doesn’t like that she feels that way, actually. But all this self-reflection is fleeting, because she’s only killed one person on her list, and there’s a lot more work to do. How many Joels is Nora’s life worth to Ellie? One-fifth?While Ellie is wrestling with these feelings, Dina is about to see things with more clarity than ever. At first, she says that Nora may have deserved this fate worse than death, to which Ellie says “Maybe she didn’t,” before telling her girlfriend everything. She tearfully recounts Joel’s massacre of the Fireflies at the base in Salt Lake City, how the group was going to use her immunity to create a cure, and how Joel killed Abby’s father to save her. Dina puts it all together and asks Ellie if she knew who Abby’s group was. She says she didn’t, but she did know what Joel did. Dina sits with that for a moment, then flatly says the group needs to go home.So I guess this is how the show gets Dina, who’s been pretty revenge-hungry thus far, back onto the track she’s on in the games. Without spoiling scenes in the late game for the uninitiated, some major points of conflict at the end of Part II require her to be less on-board with Ellie’s vendetta, so the fact that she’s been egging her girlfriend on to track down Abby was an odd choice. I wasn’t sure how the show would handle it down the line, but it seems the way HBO’s show has course-corrected was by having her condemn Joel’s actions. Dina had her own relationship with the old man in the show, so I imagine that in a later season she’ll interrogate how she feels about him in light of this new information, but having her more or less get off the ride when she learns what Joel has done sets up a contrast between her and Ellie that I’m curious to see how the show handles.The shame of it, though, is that this is just one more thing that undermines one of the core foundations of the source material, and I have to get at least one more jab in on this topic before we end the season. In The Last of Us Part II, when you look at what is actually expressed in dialogue, you see that characters are often lacking important information about each other. This lack of communication is an important part of its storytelling, but the show is instead having characters tell everyone everything. In Part II, Joel and Ellie don’t know who Abby’s father was. It’s strongly implied that no one other than Joel, Ellie, and Tommy knew about what happened in Salt Lake City, not even Dina. The more the show bridges these gaps of communication, the more senseless this entire tit-for-tat feels. To be clear, it was senseless in the game, but it was in a tragic, “these people are so blinded by their emotions that they can’t fathom another path forward” sort of way. This time around, everyone knows exactly what’s happening and chooses to partake in violence anyway. We don’t have any mystery or lack of communication to fall back on as a we struggle to understand why the characters keep making these self-destructive decisions. Everyone is just knowingly the worst version of themselves this time around, and I guess Mazin thinks that’s the point, which is the kind of boring interpretation that makes the show such an inferior version of this story.Family mattersWe now begin our third day in Seattle. Ellie and Jesse are packing up to get going in the theater lobby. The plan is to find Tommy (Gabriel Luna) somewhere in the city and then head back to Jackson. However, Jesse is a lot less talkative this morning. Dina limps into the lobby, and after a brief scolding for being on her feet, she gives Ellie a bracelet for good luck.“I’m not sure it’s been working for you,” Ellie jokes.“I’m alive,” Dina replies.Jesse is clearly uncomfortable watching his ex (or are they technically still together now? I’m not sure) give Ellie a prized possession, and says he can go alone if Dina wants Ellie to stay. Ellie says they’ll be safer together. Jesse relents and says they should be back by sundown. The tension is radiating off him, but the pair leaves Dina in the safety of the theater.Image: HBOEllie and Jesse awkwardly walk through the remains of Seattle. She finally breaks the silence by asking how he found Ellie and Dina’s theater base. He recounts his two days of tracking, giving a shoutout to the horse Shimmer who’s still vibing in the record store the girls left her at, but he’s clearly pissed. Ellie assumes it’s because he and Tommy had to cross state lines to come find them, but no, there’s something else on his mind. Why do Ellie and Dina look at each other differently? Why did Dina turn down a free drink for the first time in her life? He’s putting it all together. Dina and Ellie are no longer just gals being pals, and his (now ex?) girlfriend is pregnant.“None of this has to change things between us,” Ellie says.“Everything changing doesn’t have to change things?” Jesse asks. “Well, how about this for something new: I’m gonna be a father, which means I can’t die. But because of you, we’re stuck in a warzone. So how about we skip the apologies and just go find Tommy so I can get us and my kid the fuck out of Seattle?”Wow, okay. Judgey, much? I mean, you’re right, Jesse. This is a no good, very bad situation, and Ellie has put your kid in danger and won’t even tell you she was torturing a woman last night. But god, I miss kindhearted Jesse. I miss Ellie’s golden retriever best friend who, when finding out Dina was pregnant, firmly but gently told Ellie it was time to get the fuck out of Seattle. Now that the show has created a messy cheating love triangle out of these three, I’m once again reflecting on how The Last of Us Part II could have very easily made this storyline a dramatic, angry one, and instead it was one of the brighter spots in a dark tale. Meanwhile, in the show, the whole thing feels like it’s regressed to a rote and predictable earlier draft of the story that’s much less refreshing and compelling than the one we already know. Justice for Jesse. This is character assassination of the goodest boy in all of Jackson. Well, actually, that’s Abby’s job. Sorry, sorry. That’s actually not for another 35 minutes.As the two move further into the city, they see more art praising the Seraphite prophet on the buildings, but she looks notably different than in images we’ve seen previously. This art depicts a Black woman, whereas others have typically portrayed the prophet as white. Ellie wonders aloud if there’s “more than one of her.” Jesse says it’s possible, but ushers her forward as rain starts pouring down. I’m curious what the show might be doing here, as this is a divergence from Part II. Could the Seraphites be a kind of polytheistic group in the show that follows multiple prophets? Could they believe the Prophet was reincarnated into a different woman at some point? All we can do is theorize, but we haven’t seen much of the Seraphites this season so we don’t have much to go on. Which is by design, and feels pretty in-line with Part II, which didn’t tell you much about the group during Ellie’s three days in Seattle. We’ll pick this thread back up next season, I’m sure.The pair takes shelter but before they can catch their breath, they hear the popping sound of gunfire nearby as a W.L.F. squad corners a lone Seraphite. Ellie and Jesse watch in horror as the wolves strip and drag him away. Just as Ellie nearly gets out from cover to intervene, Jesse pulls her back. Once the coast is clear, Ellie walks away in a huff. As Jesse follows, he points out that they were outnumbered and would have lost that fight.“He was a fucking kid!” Ellie shouts.“Ellie, these people [are] shooting each other, lynching each other, ripping each other’s guts out,” Jesse says. “Even the kids? I’m not dying out here. Not for any of them. This is not our war.”Who the fuck is this man? I touched on it in episode five, but what is with this show putting all of Ellie’s unlikable traits on other characters so she keeps getting to be the hero? Jesse turns from a selfless guardian into a selfish asshole who will watch a kid get tortured to save himself while Ellie is suddenly very concerned about a war that, in the game, she seemed largely indifferent to. It’s as if The Last of Us’ second season is so concerned with us liking Ellie and feeling like we can root for her that it’s lost sight of anything else.So Jesse gets to be the belligerent asshole and Dina gets to be the revenge-driven one in the relationship. Ellie? She’s just bee-bopping through spouting cool space facts, and so when she tortures Nora, it feels like tonal whiplash. I don’t recognize Jesse. Most of the time, I don’t recognize Ellie. But really, the more I watch this show, the more I hardly recognize anyone, and I don’t have any faith in the series to figure these characters and their relationships out, even if it’s going to go on for two more seasons.Will the circle be unbroken?We shift away from the Jackson crew to check in on Isaac (Jeffrey Wright), who we haven’t seen in a few episodes. Sergeant Park (Hettienne Park) updates the W.L.F. boss that the incoming storm will get worse as the day goes on, but even so, the group is still preparing some kind of operation. She also lets him know the rank and file is a little nervous about whatever’s going on, but Isaac’s only concerned about one person: Abby. From the sound of it, she and most of her crew have all disappeared over the past few days. We’ve seen what happened to Nora, Manny is still around, but Owen and Mel are gone without a trace. Again, Isaac isn’t concerned with them. He’s nervous that they’re going into whatever operation they’re planning without Abby. Park is clearly exhausted by this lane of thinking and asks why he cares so much about the girl.Image: HBOShe starts off asking why one “great” soldier is so important when they have an army, and then gets into a weird aside where she exasperatedly asks Isaac if he’s harboring feelings for the girl when he’s at least 30 years her senior. I don’t know if this line is supposed to be a joke, but it’s not funny, even though Isaac laughs at it. She acknowledges it’s an out-of-pocket question, but says he “wouldn’t be the first old man” to make decisions based on such inappropriate impulses. As much as it’s a stupid thing for Park to say, it’s also a stupid thing for the writers room to nonchalantly whip out in a humorous fashion given The Last of Us’ history of old men preying on young women with the character of David. Why write this non-joke into your script if you don’t want viewers to possibly view his fixation on Abby as potentially untoward? Isaac’s following speech focuses on the preservation of his militia, in a very similar way to how David’s preoccupation with Ellie in season one was born from the cannibal’s warped views on longevity, and if you’re not trying to make this direct connection, why even gesture at it? Yeah, I don’t imagine anyone considered the optics of this obviously flippant, throwaway line, but Christ, if you’re that desperate for a joke or moment to cut the tension, this was the best you could come up with? Amateur shit.Isaac sits Park down and tells her why he cares so much about one soldier. He says there’s a very strong chance that the W.L.F. leadership will be dead by tomorrow morning. If that happens, who can lead the militia in their stead? He wanted it to be Abby. It was “supposed” to be her.“Well she’s fucked off, Isaac,” Park says as she leaves. “So maybe it wasn’t.”We go back to the Jackson crew as Ellie and Jesse reach the rendezvous point in a bookstore, and Tommy isn’t here. The place is in bad shape like most places are in this city, but Ellie gravitates to the children’s books section. She picks up an old Sesame Street book, the Grover classic The Monster at the End of This Book, and picks it up for the bun in the oven as Jesse says she picked a good one. As the quiet creeps in on the two, Ellie tries to break the silence by clarifying what happened, but Jesse says they have enough problems for the moment, so he wants to bury the issue.He says he loves Dina, but not in the same way Ellie does. He remembers a group that passed through Jackson, and how there was a girl he fell hard for. She asked him to leave with her to Mexico, but he declined because he’d found purpose and community in Jackson, and he was taught to put others first. People look to him to become the “next Maria” and lead the town, and he couldn’t abandon them for a girl he’d known for two weeks, even if she made him feel things he’d never felt before.Ellie immediately sees through this story. It’s not about him pointing out how he’s felt love and knows that he and Dina aren’t the real deal; it’s about how she’s putting her own needs and wants ahead of everyone else’s.“Okay, got it,” Ellie says. “So you’re Saint Jesse of Wyoming, and everyone else is a fucking asshole.”“You can make fun of me all you want,” Jesse responds. “But let me ask you this, Ellie: If I go with that girl to Mexico, who saves your ass in Seattle?”Before she can reply, they hear W.L.F. radio chatter about a sniper taking out a squad and assume it’s gotta be Tommy. The two head out to higher ground to get a better look, and Ellie sees a Ferris wheel in the distance. She finally puts Nora’s final words together: Abby is in the aquarium at the edge of the city. Immediately, her focus shifts away from Tommy as she starts trying to figure out how to reach Abby’s apparent hiding spot. Jesse is confused and says that Tommy’s got the W.L.F. pinned down in the opposite direction. Ellie starts coming up with justifications for her plan. They don’t know if that’s actually Tommy. If it is him, he’s got the group pinned down. Either way, he would want her to go after Abby to avenge Joel. Ellie doesn’t understand why Jesse is so against this. He voted to go after Abby’s crew back in Jackson, right?Image: HBONo, actually. He didn’t. He believed this vendetta was selfish and “wasn’t in the best interest of the community.” That sets Ellie off.“Fuck the community!” she screams. “All you do is talk about the fucking community, you hypocrite. You think you’re good and I’m bad? You let a kid die today, Jesse. Because why? He wasn’t in your community? Let me tell you about my community. My community was beaten to death in front of me while I was forced to fucking watch. So don’t look at me like you’re better than me, or like you’d do anything differently if you were in my shoes, because you’re not, and you wouldn’t.”Jesse takes a beat, then tells Ellie he hopes she makes it to the aquarium as he leaves. While this scene does exemplify the show’s typicalal “no subtext allowed” approach to writing that I find so irksome, the storyline of Ellie feeling ostracized by the people of Jackson while constantly being told that she must make compromises for them even as they are incapable of extending the same to her is one of the few embellishments The Last of Us makes that resonates with me. It’s easy to write off Ellie’s revenge tour as a selfish crusade that puts everyone else in harm’s way, but when she’s also one of the few out queer people in a town that mostly coddles bigotry and she’s being constantly belittled and kept from doing things she wants to do like working on the patrol team, why would she feel any kinship to this community? Now, when she’s so close to her goal that she can almost taste it, Jesse wants her to consider the people of Jackson? Why should she do that? They’re hundreds of miles away, and the only people who came to save her and Dina were the ones who already cared about her. Ellie’s disillusionment with her neighbors is one of the few additions to the story that The Last of Us manages to pull off.Ellie reaches the harbor from which she can use a boat to reach the aquarium and finds several Wolves meeting up on vessels heading somewhere off the coast. Isaac is here leading the charge, but it’s unclear where they’re going or what they’re doing. Game fans have the advantage of knowing what’s going on, but the W.L.F. storyline feels underbaked in this season, which is one of the real issues with the show dividing the game’s storyline into multiple seasons. During this section of the game, you get a sense that there’s an untold story happening in the background, and you can learn more about it through notes you can find in the environment and ambient dialogue from enemies. The show doesn’t have those same storytelling tools, so I wouldn’t be surprised if newcomers felt a little disoriented every time we hopped over to Isaac.Once the W.L.F. forces make their way wherever they’re going, Ellie finds one of the spare boats and starts to make her way to the aquarium. The storm is hitting hard, though, and the tide is not on her side. A giant tidal wave knocks her out of the boat and into the sea. (Good thing you learned how to swim, queen.) As she washes up onto the shore, Ellie hears Seraphites whistling as a group of them descends upon her. She’s too weak to get onto her feet and run, so the cultists grab her and carry her to a noose hanging from a tree in the woods. She screams that she’s not a Wolf and that she’s not from here, but they don’t listen. As they wrap the noose around her neck and start to hoist her upward, a horn sounds off in the distance. The lead Scar says to leave her, their village is in danger, so I guess that’s what the W.L.F. operation is targeting? This concludes our latest little exposition detour, as Ellie gets right back into the boat to the aquarium.Image: HBOShe manages to reach the building and finds a broken window through which to enter. Inside, she finds several makeshift beds. Whatever Abby’s doing here, she’s not alone. As Ellie makes her way deeper into the aquarium, she finds a ton of medical supplies, including bloody bandages and surgical equipment. Was Abby injured? Is that why she’s been missing in action as the W.L.F. undergoes a huge, all-hands-on-deck mission? Who’s to say?Quick sidenote: When Ellie infiltrates the aquarium in the game, she’s attacked by a guard dog named Alice. The W.L.F. used trained canines in their war against the Seraphites, but that element has been notably absent from the show. Between this and sparing Shimmer from her explosive fate, The Last of Us has been toning down the animal murder.Ellie keeps walking through the desolate aquarium and eventually finds fresh footsteps. She follows them and soon finds their source: Abby’s friends Owen (Spencer Lord) and Mel (Ariela Barer). The two are arguing about something, though it’s not clear what. Owen wants to go somewhere behind enemy lines, even in the midst of the battle Isaac has just initiated. He says he doesn’t have a choice because “it’s Abby.” Mel says he does have a choice and so does she, and the Abby of it all is why she’s not going along with whatever the plan is. Owen says he’ll do it on his own, and if Mel’s still here when they get back, she can “keep going with [them].” Either way, Owen’s leaving. Mel let’s out a hearty “fuck you, Owen” before realizing that Ellie is there. Sure seems like there’s a whole other story that’s been going on while we’ve been hanging out with Ellie, huh? I wonder if we’ll ever get any further insight into whatever this is. Perhaps in a season entirely dedicated to the other side of what’s going on in Seattle? Maybe in a couple years it might premiere on HBO Max (or whatever it’s called by then)? That would be something!Ellie holds the two at gunpoint and tells them to put their hands up. When she asks where Abby is, Owen realizes who she is and points out that he was the one who kept her alive. Ellie isn’t swayed by this, so he says they don’t know where Abby went. But, of course, they were just talking about her, so Ellie knows that’s not true. She spots a map on the table and decides to pull out an old Joel Miller standard: She tells Mel to bring her the map and point to where Abby is, saying that next she’s going to ask Owen the same question, and the answers had better match. Owen looks at Mel and says that Ellie will kill them either way, so there’s no reason to comply. Ellie says she won’t because she’s “not like” them. When she crosses state lines to torture and kill someone who killed somebody important to her, it’s very different than when they do it, of course.Owen stops Mel from grabbing the map by saying he’ll do it. He slowly turns to the table, but instead of picking up the map, he grabs a handgun stowed under it. Ellie is quick with her trigger finger and shoots him right in the throat. The bullet goes straight through him, and hits Mel in the neck as well. She falls onto her back and, instead of cursing Ellie, she asks for her help. Not to save her life, but someone else’s. She opens her jacket to reveal her pregnant belly, and asks if Ellie has a knife to cut the baby out of her before she dies. Ellie is in shock and doesn’t know what to do. Mel tells her she just needs to make one incision. That isn’t enough direction, and Ellie panics. She doesn’t know how deep or which direction to cut. As Mel starts to become delirious, she repeats “love transfers” and then asks Ellie if the baby is out. But she hasn’t even made one cut. Mel finally drifts off, and Ellie realizes it’s too late. She sits there until, eventually, Tommy and Jesse find her. Tommy attempts to comfort her, but she’s in shock and doesn’t speak. Finally they leave and head back to the theater.Naughty Dog / Cinematic GamingWhy can’t this show stop giving the audience outs to not turn against its leads? The death of Mel, specifically, feels like the show bending over backward to teach Ellie a lesson without laying blame at her feet. Mel’s death here is an accident. She’s an innocent bystander who dies because Owen and Ellie made choices, and she was, quite literally, caught in the crossfire. In Part II, by contrast, Mel “shot first.” Well, she tried to stab Ellie, but that doesn’t have the same ring to it. Ellie reacts in self-defense and stabs her right back, but she did it fully knowing she was about to send Mel to an early grave. The gut punch Ellie feels upon learning that she’s pregnant is a moment of dramatic irony, because the game’s shifting perspectives had already revealed her pregnancy to the player way back in the opening hours. So when you’re slamming the square button to fight back, you know that Mel isn’t the only one about to reach her untimely end. Here, she doesn’t even get that moment of agency to fight to protect herself. She’s just collateral damage. It’s a small but important distinction. At this point in the show, Mel’s only real trait is a clear distaste for Abby’s violence, and now, when she finally shows up again, she’s just an unintended victim of Owen pulling a gun on Ellie. Sure, season three will fill in those gaps, but the end result will be the same. Mel died not because she was fighting back, but because she was an inch too far to the left.Then there’s the matter of her pregnancy. Again, in the game players already knew about this by the time Ellie reached the aquarium, while the show kept it secret until the end. It’s hard not to see this last-minute reveal as a knife being twisted for shock value, but that’s only half the problem. My friend Eric Van Allen (co-host of the Axe of the Blood God podcast) would often joke with his college friends about how Michael Caine’s characters in Christopher Nolan films so often show up just to tell you, the viewer, in very literal terms what the story is about. Throughout most of this season, Gail has been this character, the one burdened with the heavy task of diegetic literary analysis, but Mel’s delirious “love transfers” line may be even sillier than anything Gail spouts; homegirl is bleeding out and telling Ellie that pain is not the only thing we inherit from our parents? Just one week after Joel tearfully told Ellie that he hopes she does better when she has a kid than he or his abusive cop father did?Perhaps in a show that hadn’t already spent two seasons using literalism as a writing crutch, Mel speaking her final hopes for her unborn child might have landed for me. But I think I’m just too jaded towards it now for even what should have been a genuine expression to feel like anything other than a heavy-handed, patronizing declaration of what lessons I’m supposed to take away from the story. I don’t think characters overtly communicating their beliefs and feelings about a situation is an inherently poor way of writing dialogue. In fact, some of my favorite works have managed to execute this well thanks to strong acting and stories that lent themselves well to this style of writing. The Last of Us, a series that often relishes in grounded dialogue that forced you to read between the lines and unearth that meaning yourself, the Last of Us show’s inability to let nearly any emotion, belief, or theme go unspoken feels so contrived and tiresome that even someone expressing something thematically resonate feels like being told what to feel. Mel uses her last words to tell me the themes of the story. Just in case I forgot. Thank you, Last of Us show, I don’t know how I would have ever understood your thematic richness if you didn’t make your characters tell me about it, even in their death gasps.The group makes it back to the theater and Ellie is still in shock, so much so that she doesn’t even look at Dina as she enters the building. Some time passes, and Tommy and Jesse are mapping out their route home on the stage. The storm is still pretty rough, so they’ll stay overnight and hope the sun is out when they wake up. Ellie finally joins the group, and Tommy reassures her that Mel and Owen played their part in Joel’s death, and they made the choices that brought them to that fateful end. Ellie can only fixate on what she didn’t get to do.“But Abby gets to live,” she says.“Yeah,” Tommy responds. “Are you able to make your peace with that?”“I guess I’ll have to,” she says, defeated.She looks to Jesse, who won’t even look up at her. Tommy realizes they might have something to talk about and walks to the lobby to pack. After some awkward silence, Ellie thanks Jesse for coming back for her, even though he had no reason to after the way they clashed.“Maybe I didn’t want to,” he says. “Maybe Tommy made me.”“Did he?” Ellie asks.After a second of contemplation, Jesse drops the act and says, “No.”“Because you’re a good person,” Ellie responds.“Yeah,” Jesse agrees. “But also the thought did occur, that if I were out there somewhere, lost and in trouble, you’d set the world on fire to save me.”Ellie says she would, and the two finally see one another, even if just for a moment. Jesse acknowledges that Ellie’s vendetta isn’t entirely selfish, and that when it comes to defending the people she cares about, dead or alive, you won’t find someone more loyal in all of Jackson. It’s good that they finally had this moment of connection after all this drama. But damn, I miss Ellie and Jesse being bros, and I miss her giving him shit for being a sap in these final moments. But most of all, I miss that dopey good ol’ boy with a heart of gold saying his friends “can’t get out of their own damn way.”All that understanding is short-lived, as the two hear some ruckus in the lobby, grab their guns, and book it to the entrance. The second Jesse opens the door, bam. A gunshot rings out in the lobby, and he is on the floor. We don’t even see that it was Abby who fired it until after we get a gnarly shot of him with his face blown open. He’s gone. It was instant. The Last of Us Part II tends to draw out death. It’s either long and torturous like it was for Joel or Nora, or it’s short like Owen’s and Mel’s, but in any case, the game typically lingers on the fallout for a bit. Jesse’s death, by contrast, happens so fast that you can’t even process it before you have to deal with the situation at hand. The show follows suit, and it’s recreated practically shot for shot. But that’s hardly the most disorienting (complimentary) thing that happens in these final minutes.“Stand up,” Abby growls forcefully from the other side of the desk Ellie has taken cover behind.She repeats herself: “Stand. Up. Hands in the air or I shoot this one, too.”Ellie can see Tommy on the ground with a pistol aimed right at his head. He tells Ellie to just run, but she tosses her gun where Abby can see it and crawls out from cover. Abby recognizes her immediately. Ellie asks her to let Tommy go, to which Abby replies that he killed her friends. Ellie says no, she did.“I was looking for you,” Ellie says. “I didn’t mean to hurt them. I know why you killed Joel. He did what he did to save me, I’m the one that you want. Just let him go.”Naughty Dog / VGS - Video Game SophistryHm. Okay. We’re almost at the end. I gotta get another little quibble in before the curtains close. I mean, come on, we’ve been through seven episodes of me complaining together. You can’t take one last gripe? This line from Ellie is slightly altered to account for the fact that she knows more about Abby in the show than in the game, and it means we miss one of the most important subtle interactions in all of the story. As I mentioned earlier, Ellie doesn’t know anything about Abby’s father in Part II. She assumes that Abby killed Joel because he took away any chance of the Fireflies developing a cure, so she cites that in this high-stakes moment. The original line is almost identical to the one in the show, but instead, Ellie says “there’s no cure because of me” and suggests that killing her would be the extension of Abby’s presumed vendetta. Then, we get some incredible, subtle acting from Abby actor Laura Bailey, who hears what Ellie’s saying, has a brief moment of angry disbelief on her face, and then scoffs under her breath before picking right back up where she left off. In just a few seconds, you see Abby realize that, after everything, these fuckers have no idea how much pain she’s been through over the past five years. But they’re not worth the breath it would take to explain herself. They don’t deserve to know the man her father was and what he meant to her. All that matters right now is that Ellie pays for what she’s done.Abby still views herself as the righteous one here, as she points out that she let Ellie live when she did not have to do that. It turns out that Ellie wasn’t deserving of her mercy, that she squandered it by killing her friends. Part of me has wondered if all the exposition-heavy dialogue in this show, such as Dever’s villain monologue in episode two before she murdered the shit out of Joel, was written to give its actors more words to say in front of a camera. When you’ve got big names like Kaitlyn Dever, Catherine O’Hara, and Pedro Pascal in your cast, you don’t want them to not talk, right? But all these elongated exchanges have also robbed actors like Dever of those subtle moments. Hell, she led an entire film with next to no dialogue in 2023’s No One Will Save You, and was great in it, so she has the chops to pull off that kind of acting. Communicating something through body language and expression is just as powerful as a poetic piece of dialogue (or in this show’s case, the most literal, unpoetic dialogue a person can fathom), but this show rarely, if ever, understands that.Image: HBOAnyway, Abby says that Ellie wasted the chance she was given when the ex-Fireflies spared her, and points her gun right at Ellie. We hear a bullet fire and Ellie shouts before a hard cut to black. But wait. That’s the season finale? You expect us to wait for two years, probably, to find out what happened? Well, about that. You will probably have to wait even longer.We do have one more scene this season, however: a flashback. We see Abby lying down on a comfy couch with an unfinished book resting on her stomach. She’s in a deep sleep before Manny (Danny Ramirez) loudly enters the room and wakes her up. He says Isaac wants to see them, and she stirs awake. She gets up and walks out of this cozy living space and into a giant football stadium. The entire field has been repurposed for agriculture, manufacturing, and housing. Abby takes a second to look at the whole operation before heading to Isaac’s, but the camera lingers over the field as bold white text flashes on the screen: Seattle, Day One.Alright, TV newbies, welcome to the second divisive twist of The Last of Us Part II. In the game, the player goes through Ellie’s three days in Seattle, killing Abby’s friends and mostly ignoring the war between the W.L.F. and the Seraphites. Meanwhile, Abby has been kind of an enigma the whole time. Every time Ellie finds a new lead, Abby has already come and gone. When Abby finally shows up at the theater for another round of vengeance, it’s clear that a lot of the story happening in this game has happened off-screen. That’s because you’re about to see an entirely different perspective on the last three days, and you’re going to play as Abby when you do it.As you can imagine, this shit drove some players nuts at the time, and you’ll still find angry people online complaining about it to this day. For all my problems with this season, I have to commend the show for actually going for it. HBO has taken the coward’s route in adapting this story for so long, it’s almost surprising that it’s ending here and, from the sound of it, season three will be entirely about Abby and what she’s been doing these past three days. It’s very likely we won’t see Ellie again until next season’s finale after we’ve followed Dever’s character for several episodes. Despite some ham-fisted attempts by the show to build sympathy for Abby early on, it seems like swaths of TV newbies still demand blood. Will viewers complain for an entire season as Dever takes on the lead role? I’d like to think they won’t. I hope that new audiences are more open to her than the worst people you’ve ever met were when the game launched.Despite all the golf club swings I’ve taken at this show, I’m looking forward to examining it further as HBO rolls out the next two seasons. The Last of Us Part II is one of my favorite games of all time, but I genuinely fucking hated The Last of Us’ second season. I don’t expect my feelings to improve in season three. At this point, the rot of Mazin’s poor creative decisions runs too deep for the show to be salvaged and reach the highs of the games. But if nothing else, it’s been a rewarding ride. Thank you for joining me on this seven-week journey. I think I’m due for a replay of The Last of Us Part II to wash off this stink. This shit was ass, HBO. I’ll see you in the ring again next time.
    15 Комментарии 0 Поделились
  • GOOD injects new energy into JustGiving with a punchy campaign for a new generation of fundraisers

    What does it feel like when your first donation comes in? That moment when your big idea – whether it's a marathon, a boxing match or a bionic arm – suddenly becomes real.
    That's the emotional flashpoint GOOD has bottled for JustGiving's latest brand campaign, It Just Got Real, designed to resonate with a younger, more diverse wave of fundraisers.
    This high-energy, platform-native campaign marks a strategic evolution for JustGiving, a household name in fundraising that is now repositioning itself as the go-to for personal causes as much as traditional charity events. Centred on the visceral moment that fundraising moves from concept to commitment, the work is a vibrant call to action for anyone with a mission, message, or movement.
    "We wanted the campaign to feel electric," says GOOD creative Kia Wing. "Like standing right at the edge of something big – and a bit scary. Because that's what fundraising is, right? It starts with an idea, and the moment someone donates, it gets real. That was the tone we chased, that rush of adrenaline."

    The campaign features three real fundraisers: Freya Morgan, a human rights lawyer who's run over 2,500km for Bail for Immigration Detainees dressed as a mirrorball; Javeno Mclean, a TikTok-famous fitness coach boxing for mental health; and Matthew Ashton-Rickhardt, a drummer crowdfunding for a bionic arm after a motorbike accident.
    Their stories are personal, powerful, and perfectly pitched to show the range of fundraising in 2025. Rather than dramatising their causes in a traditional way, GOOD chose to focus on the pulse of energy that hits when a donation notification lands.
    In the video spots, snappy, TikTok-style transitions flip the viewer from everyday scenarios into full fundraising action. One second, you're towel-drying your hair; the next, you're shadowboxing for Mind in front of a crowd. These stylistic whiplashes keep the pace high and the emotion real.

    For GOOD, the spark behind the idea was rooted in user insight. "The campaign was based on the understanding that doing any fundraising activity is personal," says senior planner Gaby Morgan. "It's turning something you dreamt of into a reality. And JustGiving has a powerful role to play in that – it gives you the platform to take action. But it's that moment the donation comes in that really turns the idea into a living reality."
    That shift from concept to commitment drives the entire creative. The work doesn't dwell on sacrifice or guilt but on potential, which is dynamic, bold, and dripping with energy. From thumping music and punchy transitions to full-bleed colour and BIG expressions, the campaign is engineered to both stand out and fit in across social and digital platforms.

    Crucially, the creative team knew they had to earn their place on younger audiences' feeds. "We had to bake the platforms' visual language into the bones of the work," says Kia. "Fast cuts, punchy transitions, as quippy as a TikTok itself, but our audience shaped more than just the look. Younger fundraisers are still doing events, for sure, but they're also turning personal missions into public movements. They're crowdfunding more and rallying friends behind something that moves them."
    "That shift – from charity event to personal mission – reflects wider changes in the fundraising landscape. GOOD's campaign positions JustGiving as the platform that can power it all. Whether you're running, drumming or disco-ball-jogging, it's the place where "ideas become action."
    "It's a fitting evolution for the brand," says creative director Jo Ratcliffe. "JustGiving is the original fundraising platform and the obvious go-to for many. However, younger audiences are less familiar with its legacy, so this campaign aims to galvanise a new generation. Whatever your cause, JustGiving helps you make it real."

    It's a tricky line to walk: staying true to the real fundraisers' stories while making sure the creative lands in 15 seconds or less. GOOD approached this by grounding everything in authenticity – and then dialling it up with flair.
    "Our scripts were all rooted in truth and feature the fundraisers themselves," Jo explains. "We simply heightened the storytelling with a few flourishes. We took some visual cues from Netflix's Sex Education for the set design and used playful transitions, SFX and motion graphics to dial up the energy."
    Even the static OOH executionspack a punch. "The OOH had a big job: freeze that feeling," says Kia. "We kept it simple. Bold type, full-bleed colour, and our fundraisers are front and centre. You didn't need the full story. You just needed to feel it. The buzz, the nerves, the YES of it all."

    Working alongside MI Media and Brainlabs, the campaign rolled out across digital, social, and out-of-home from April 24. It's already gaining traction, not just for the causes themselves, but also for the shift it signals in purpose-led branding. GOOD isn't just selling platform functionality here; they're selling possibility, and a new emotional entry point for taking action.
    "This campaign proves that purpose-led branding can be upbeat, playful and even sequin-encrusted," says Jo. "Telling real stories in an authentic way doesn't mean the creative needs to be serious or worthy. We can absolutely have fun whilst highlighting important causes at the heart of the story."
    Fun is exactly what this campaign delivers, alongside plenty of heart, urgency, and a healthy dose of adrenaline.
    #good #injects #new #energy #into
    GOOD injects new energy into JustGiving with a punchy campaign for a new generation of fundraisers
    What does it feel like when your first donation comes in? That moment when your big idea – whether it's a marathon, a boxing match or a bionic arm – suddenly becomes real. That's the emotional flashpoint GOOD has bottled for JustGiving's latest brand campaign, It Just Got Real, designed to resonate with a younger, more diverse wave of fundraisers. This high-energy, platform-native campaign marks a strategic evolution for JustGiving, a household name in fundraising that is now repositioning itself as the go-to for personal causes as much as traditional charity events. Centred on the visceral moment that fundraising moves from concept to commitment, the work is a vibrant call to action for anyone with a mission, message, or movement. "We wanted the campaign to feel electric," says GOOD creative Kia Wing. "Like standing right at the edge of something big – and a bit scary. Because that's what fundraising is, right? It starts with an idea, and the moment someone donates, it gets real. That was the tone we chased, that rush of adrenaline." The campaign features three real fundraisers: Freya Morgan, a human rights lawyer who's run over 2,500km for Bail for Immigration Detainees dressed as a mirrorball; Javeno Mclean, a TikTok-famous fitness coach boxing for mental health; and Matthew Ashton-Rickhardt, a drummer crowdfunding for a bionic arm after a motorbike accident. Their stories are personal, powerful, and perfectly pitched to show the range of fundraising in 2025. Rather than dramatising their causes in a traditional way, GOOD chose to focus on the pulse of energy that hits when a donation notification lands. In the video spots, snappy, TikTok-style transitions flip the viewer from everyday scenarios into full fundraising action. One second, you're towel-drying your hair; the next, you're shadowboxing for Mind in front of a crowd. These stylistic whiplashes keep the pace high and the emotion real. For GOOD, the spark behind the idea was rooted in user insight. "The campaign was based on the understanding that doing any fundraising activity is personal," says senior planner Gaby Morgan. "It's turning something you dreamt of into a reality. And JustGiving has a powerful role to play in that – it gives you the platform to take action. But it's that moment the donation comes in that really turns the idea into a living reality." That shift from concept to commitment drives the entire creative. The work doesn't dwell on sacrifice or guilt but on potential, which is dynamic, bold, and dripping with energy. From thumping music and punchy transitions to full-bleed colour and BIG expressions, the campaign is engineered to both stand out and fit in across social and digital platforms. Crucially, the creative team knew they had to earn their place on younger audiences' feeds. "We had to bake the platforms' visual language into the bones of the work," says Kia. "Fast cuts, punchy transitions, as quippy as a TikTok itself, but our audience shaped more than just the look. Younger fundraisers are still doing events, for sure, but they're also turning personal missions into public movements. They're crowdfunding more and rallying friends behind something that moves them." "That shift – from charity event to personal mission – reflects wider changes in the fundraising landscape. GOOD's campaign positions JustGiving as the platform that can power it all. Whether you're running, drumming or disco-ball-jogging, it's the place where "ideas become action." "It's a fitting evolution for the brand," says creative director Jo Ratcliffe. "JustGiving is the original fundraising platform and the obvious go-to for many. However, younger audiences are less familiar with its legacy, so this campaign aims to galvanise a new generation. Whatever your cause, JustGiving helps you make it real." It's a tricky line to walk: staying true to the real fundraisers' stories while making sure the creative lands in 15 seconds or less. GOOD approached this by grounding everything in authenticity – and then dialling it up with flair. "Our scripts were all rooted in truth and feature the fundraisers themselves," Jo explains. "We simply heightened the storytelling with a few flourishes. We took some visual cues from Netflix's Sex Education for the set design and used playful transitions, SFX and motion graphics to dial up the energy." Even the static OOH executionspack a punch. "The OOH had a big job: freeze that feeling," says Kia. "We kept it simple. Bold type, full-bleed colour, and our fundraisers are front and centre. You didn't need the full story. You just needed to feel it. The buzz, the nerves, the YES of it all." Working alongside MI Media and Brainlabs, the campaign rolled out across digital, social, and out-of-home from April 24. It's already gaining traction, not just for the causes themselves, but also for the shift it signals in purpose-led branding. GOOD isn't just selling platform functionality here; they're selling possibility, and a new emotional entry point for taking action. "This campaign proves that purpose-led branding can be upbeat, playful and even sequin-encrusted," says Jo. "Telling real stories in an authentic way doesn't mean the creative needs to be serious or worthy. We can absolutely have fun whilst highlighting important causes at the heart of the story." Fun is exactly what this campaign delivers, alongside plenty of heart, urgency, and a healthy dose of adrenaline. #good #injects #new #energy #into
    WWW.CREATIVEBOOM.COM
    GOOD injects new energy into JustGiving with a punchy campaign for a new generation of fundraisers
    What does it feel like when your first donation comes in? That moment when your big idea – whether it's a marathon, a boxing match or a bionic arm – suddenly becomes real. That's the emotional flashpoint GOOD has bottled for JustGiving's latest brand campaign, It Just Got Real, designed to resonate with a younger, more diverse wave of fundraisers. This high-energy, platform-native campaign marks a strategic evolution for JustGiving, a household name in fundraising that is now repositioning itself as the go-to for personal causes as much as traditional charity events. Centred on the visceral moment that fundraising moves from concept to commitment, the work is a vibrant call to action for anyone with a mission, message, or movement. "We wanted the campaign to feel electric," says GOOD creative Kia Wing. "Like standing right at the edge of something big – and a bit scary. Because that's what fundraising is, right? It starts with an idea, and the moment someone donates, it gets real. That was the tone we chased, that rush of adrenaline." The campaign features three real fundraisers: Freya Morgan, a human rights lawyer who's run over 2,500km for Bail for Immigration Detainees dressed as a mirrorball; Javeno Mclean, a TikTok-famous fitness coach boxing for mental health; and Matthew Ashton-Rickhardt, a drummer crowdfunding for a bionic arm after a motorbike accident. Their stories are personal, powerful, and perfectly pitched to show the range of fundraising in 2025. Rather than dramatising their causes in a traditional way, GOOD chose to focus on the pulse of energy that hits when a donation notification lands. In the video spots, snappy, TikTok-style transitions flip the viewer from everyday scenarios into full fundraising action. One second, you're towel-drying your hair; the next, you're shadowboxing for Mind in front of a crowd. These stylistic whiplashes keep the pace high and the emotion real. For GOOD, the spark behind the idea was rooted in user insight. "The campaign was based on the understanding that doing any fundraising activity is personal," says senior planner Gaby Morgan. "It's turning something you dreamt of into a reality. And JustGiving has a powerful role to play in that – it gives you the platform to take action. But it's that moment the donation comes in that really turns the idea into a living reality." That shift from concept to commitment drives the entire creative. The work doesn't dwell on sacrifice or guilt but on potential, which is dynamic, bold, and dripping with energy. From thumping music and punchy transitions to full-bleed colour and BIG expressions, the campaign is engineered to both stand out and fit in across social and digital platforms. Crucially, the creative team knew they had to earn their place on younger audiences' feeds. "We had to bake the platforms' visual language into the bones of the work," says Kia. "Fast cuts, punchy transitions, as quippy as a TikTok itself, but our audience shaped more than just the look. Younger fundraisers are still doing events, for sure, but they're also turning personal missions into public movements. They're crowdfunding more and rallying friends behind something that moves them." "That shift – from charity event to personal mission – reflects wider changes in the fundraising landscape. GOOD's campaign positions JustGiving as the platform that can power it all. Whether you're running, drumming or disco-ball-jogging, it's the place where "ideas become action." "It's a fitting evolution for the brand," says creative director Jo Ratcliffe. "JustGiving is the original fundraising platform and the obvious go-to for many. However, younger audiences are less familiar with its legacy, so this campaign aims to galvanise a new generation. Whatever your cause, JustGiving helps you make it real." It's a tricky line to walk: staying true to the real fundraisers' stories while making sure the creative lands in 15 seconds or less. GOOD approached this by grounding everything in authenticity – and then dialling it up with flair. "Our scripts were all rooted in truth and feature the fundraisers themselves," Jo explains. "We simply heightened the storytelling with a few flourishes. We took some visual cues from Netflix's Sex Education for the set design and used playful transitions, SFX and motion graphics to dial up the energy." Even the static OOH executions (arguably the hardest place to communicate an emotional beat) pack a punch. "The OOH had a big job: freeze that feeling," says Kia. "We kept it simple. Bold type, full-bleed colour, and our fundraisers are front and centre. You didn't need the full story. You just needed to feel it. The buzz, the nerves, the YES of it all." Working alongside MI Media and Brainlabs, the campaign rolled out across digital, social, and out-of-home from April 24. It's already gaining traction, not just for the causes themselves, but also for the shift it signals in purpose-led branding. GOOD isn't just selling platform functionality here; they're selling possibility, and a new emotional entry point for taking action. "This campaign proves that purpose-led branding can be upbeat, playful and even sequin-encrusted," says Jo. "Telling real stories in an authentic way doesn't mean the creative needs to be serious or worthy. We can absolutely have fun whilst highlighting important causes at the heart of the story." Fun is exactly what this campaign delivers, alongside plenty of heart, urgency, and a healthy dose of adrenaline.
    0 Комментарии 0 Поделились
  • The data center boom in the desert

    In the high desert east of Reno, Nevada, construction crews are flattening the golden foothills of the Virginia Range, laying the foundations of a data center city. Google, Tract, Switch, EdgeCore, Novva, Vantage, and PowerHouse are all operating, building, or expanding huge facilities within the Tahoe Reno Industrial Center, a business park bigger than the city of Detroit.  This story is a part of MIT Technology Review’s series “Power Hungry: AI and our energy future,” on the energy demands and carbon costs of the artificial-intelligence revolution. Meanwhile, Microsoft acquired more than 225 acres of undeveloped property within the center and an even larger plot in nearby Silver Springs, Nevada. Apple is expanding its data center, located just across the Truckee River from the industrial park. OpenAI has said it’s considering building a data center in Nevada as well. The corporate race to amass computing resources to train and run artificial intelligence models and store information in the cloud has sparked a data center boom in the desert—just far enough away from Nevada’s communities to elude wide notice and, some fear, adequate scrutiny.  Switch, a data center company based in Las Vegas, says the full build-out of its campus at the Tahoe Reno Industrial Center could exceed seven million square feet.EMILY NAJERA The full scale and potential environmental impacts of the developments aren’t known, because the footprint, energy needs, and water requirements are often closely guarded corporate secrets. Most of the companies didn’t respond to inquiries from MIT Technology Review, or declined to provide additional information about the projects.  But there’s “a whole lot of construction going on,” says Kris Thompson, who served as the longtime project manager for the industrial center before stepping down late last year. “The last number I heard was 13 million square feet under construction right now, which is massive.”
    Indeed, it’s the equivalent of almost five Empire State Buildings laid out flat. In addition, public filings from NV Energy, the state’s near-monopoly utility, reveal that a dozen data-center projects, mostly in this area, have requested nearly six gigawatts of electricity capacity within the next decade.  That would make the greater Reno area—the biggest little city in the world—one of the largest data-center markets around the globe.
    It would also require expanding the state’s power sector by about 40%, all for a single industry in an explosive growth stage that may, or may not, prove sustainable. The energy needs, in turn, suggest those projects could consume billions of gallons of water per year, according to an analysis conducted for this story.  Construction crews are busy building data centers throughout the Tahoe Reno Industrial Center.EMILY NAJERA The build-out of a dense cluster of energy and water-hungry data centers in a small stretch of the nation’s driest state, where climate change is driving up temperatures faster than anywhere else in the country, has begun to raise alarms among water experts, environmental groups, and residents. That includes members of the Pyramid Lake Paiute Tribe, whose namesake water body lies within their reservation and marks the end point of the Truckee River, the region’s main source of water. Much of Nevada has suffered through severe drought conditions for years, farmers and communities are drawing down many of the state’s groundwater reservoirs faster than they can be refilled, and global warming is sucking more and more moisture out of the region’s streams, shrubs, and soils. “Telling entities that they can come in and stick more straws in the ground for data centers is raising a lot of questions about sound management,” says Kyle Roerink, executive director of the Great Basin Water Network, a nonprofit that works to protect water resources throughout Nevada and Utah.  “We just don’t want to be in a situation where the tail is wagging the dog,” he later added, “where this demand for data centers is driving water policy.” Luring data centers In the late 1850s, the mountains southeast of Reno began enticing prospectors from across the country, who hoped to strike silver or gold in the famed Comstock Lode. But Storey County had few residents or economic prospects by the late 1990s, around the time when Don Roger Norman, a media-shy real estate speculator, spotted a new opportunity in the sagebrush-covered hills. 
    He began buying up tens of thousands of acres of land for tens of millions of dollars and lining up development approvals to lure industrial projects to what became the Tahoe Reno Industrial Center. His partners included Lance Gilman, a cowboy-hat-wearing real estate broker, who later bought the nearby Mustang Ranch brothel and won a seat as a county commissioner. In 1999, the county passed an ordinance that preapproves companies to develop most types of commercial and industrial projects across the business park, cutting months to years off the development process. That helped cinch deals with a flock of tenants looking to build big projects fast, including Walmart, Tesla, and Redwood Materials. Now the promise of fast permits is helping to draw data centers by the gigawatt. On a clear, cool January afternoon, Brian Armon, a commercial real estate broker who leads the industrial practices group at NAI Alliance, takes me on a tour of the projects around the region, which mostly entails driving around the business center. Lance Gilman, a local real estate broker, helped to develop the Tahoe Reno Industrial Center and land some of its largest tenants.GREGG SEGAL After pulling off Interstate 80 onto USA Parkway, he points out the cranes, earthmovers, and riprap foundations, where a variety of data centers are under construction. Deeper into the industrial park, Armon pulls up near Switch’s long, low, arched-roof facility, which sits on a terrace above cement walls and security gates. The Las Vegas–based company says the first phase of its data center campus encompasses more than a million square feet, and that the full build-out will cover seven times that space. 
    Over the next hill, we turn around in Google’s parking lot. Cranes, tents, framing, and construction equipment extend behind the company’s existing data center, filling much of the 1,210-acre lot that the search engine giant acquired in 2017. Last August, during an event at the University of Nevada, Reno, the company announced it would spend million to expand the data center campus along with another one in Las Vegas. Thompson says that the development company, Tahoe Reno Industrial LLC, has now sold off every parcel of developable land within the park. When I ask Armon what’s attracting all the data centers here, he starts with the fast approvals but cites a list of other lures as well: The inexpensive land. NV Energy’s willingness to strike deals to supply relatively low-cost electricity. Cool nighttime and winter temperatures, as far as American deserts go, which reduce the energy and water needs. The proximity to tech hubs such as Silicon Valley, which cuts latency for applications in which milliseconds matter. And the lack of natural disasters that could shut down the facilities, at least for the most part.
    “We are high in seismic activity,” he says. “But everything else is good. We’re not going to have a tornado or flood or a devastating wildfire.” Then there’s the generous tax policies.In 2023, Novva, a Utah-based data center company, announced plans to build a 300,000-square-foot facility within the industrial business park. Nevada doesn’t charge corporate income tax, and it has also enacted deep tax cuts specifically for data centers that set up shop in the state. That includes abatements of up to 75% on property tax for a decade or two—and nearly as much of a bargain on the sales and use taxes applied to equipment purchased for the facilities. Data centers don’t require many permanent workers to run the operations, but the projects have created thousands of construction jobs. They’re also helping to diversify the region’s economy beyond casinos and generating tax windfalls for the state, counties, and cities, says Jeff Sutich, executive director of the Northern Nevada Development Authority. Indeed, just three data-center projects, developed by Apple, Google, and Vantage, will produce nearly half a billion dollars in tax revenue for Nevada, even with those generous abatements, according to the Nevada Governor’s Office of Economic Development. The question is whether the benefits of data centers are worth the tradeoffs for Nevadans, given the public health costs, greenhouse-gas emissions, energy demands, and water strains. The rain shadow The Sierra Nevada’s granite peaks trace the eastern edge of California, forcing Pacific Ocean winds to rise and cool. That converts water vapor in the air into the rain and snow that fill the range’s tributaries, rivers, and lakes.  But the same meteorological phenomenon casts a rain shadow over much of neighboring Nevada, forming an arid expanse known as the Great Basin Desert. The state receives about 10 inches of precipitation a year, about a third of the national average.
    The Truckee River draws from the melting Sierra snowpack at the edge of Lake Tahoe, cascades down the range, and snakes through the flatlands of Reno and Sparks. It forks at the Derby Dam, a Reclamation Act project a few miles from the Tahoe Reno Industrial Center, which diverts water to a farming region further east while allowing the rest to continue north toward Pyramid Lake.  Along the way, an engineered system of reservoirs, canals, and treatment plants divert, store, and release water from the river, supplying businesses, cities, towns, and native tribes across the region. But Nevada’s population and economy are expanding, creating more demands on these resources even as they become more constrained. 
    The Truckee River, which originates at Lake Tahoe and terminates at Pyramid Lake, is the major water source for cities, towns, and farms across northwestern Nevada.EMILY NAJERA Throughout much of the 2020s the state has suffered through one of the hottest and most widespread droughts on record, extending two decades of abnormally dry conditions across the American West. Some scientists fear it may constitute an emerging megadrought.  About 50% of Nevada currently faces moderate to exceptional drought conditions. In addition, more than half of the state’s hundreds of groundwater basins are already “over-appropriated,” meaning the water rights on paper exceed the levels believed to be underground.  It’s not clear if climate change will increase or decrease the state’s rainfall levels, on balance. But precipitation patterns are expected to become more erratic, whiplashing between short periods of intense rainfall and more-frequent, extended, or severe droughts.  In addition, more precipitation will fall as rain rather than snow, shortening the Sierra snow season by weeks to months over the coming decades.  “In the extreme case, at the end of the century, that’s pretty much all of winter,” says Sean McKenna, executive director of hydrologic sciences at the Desert Research Institute, a research division of the Nevada System of Higher Education. That loss will undermine an essential function of the Sierra snowpack: reliably delivering water to farmers and cities when it’s most needed in the spring and summer, across both Nevada and California.  These shifting conditions will require the region to develop better ways to store, preserve, and recycle the water it does get, McKenna says. Northern Nevada’s cities, towns, and agencies will also need to carefully evaluate and plan for the collective impacts of continuing growth and development on the interconnected water system, particularly when it comes to water-hungry projects like data centers, he adds. “We can’t consider each of these as a one-off, without considering that there may be tens or dozens of these in the next 15 years,” McKenna says.Thirsty data centers Data centers suck up water in two main ways.
    As giant rooms of server racks process information and consume energy, they generate heat that must be shunted away to prevent malfunctions and damage to the equipment. The processing units optimized for training and running AI models often draw more electricity and, in turn, produce more heat. To keep things cool, more and more data centers have turned to liquid cooling systems that don’t need as much electricity as fan cooling or air-conditioning. These often rely on water to absorb heat and transfer it to outdoor cooling towers, where much of the moisture evaporates. Microsoft’s US data centers, for instance, could have directly evaporated nearly 185,000 gallons of “clean freshwater” in the course of training OpenAI’s GPT-3 large language model, according to a 2023 preprint study led by researchers at the University of California, Riverside.What’s less appreciated, however, is that the larger data-center drain on water generally occurs indirectly, at the power plants generating extra electricity for the turbocharged AI sector. These facilities, in turn, require more water to cool down equipment, among other purposes. You have to add up both uses “to reflect the true water cost of data centers,” says Shaolei Ren, an associate professor of electrical and computer engineering at UC Riverside and coauthor of the study. Ren estimates that the 12 data-center projects listed in NV Energy’s report would directly consume between 860 million gallons and 5.7 billion gallons a year, based on the requested electricity capacity.The indirect water drain associated with electricity generation for those operations could add up to 15.5 billion gallons, based on the average consumption of the regional grid. The exact water figures would depend on shifting climate conditions, the type of cooling systems each data center uses, and the mix of power sources that supply the facilities. Solar power, which provides roughly a quarter of Nevada’s power, requires relatively little water to operate, for instance. But natural-gas plants, which generate about 56%, withdraw 2,803 gallons per megawatt-hour on average, according to the Energy Information Administration.  Geothermal plants, which produce about 10% of the state’s electricity by cycling water through hot rocks, generally consume less water than fossil fuel plants do but often require more water than other renewables, according to some research.  But here too, the water usage varies depending on the type of geothermal plant in question. Google has lined up several deals to partially power its data centers through Fervo Energy, which has helped to commercialize an emerging approach that injects water under high pressure to fracture rock and form wells deep below the surface.  The company stresses that it doesn’t evaporate water for cooling and that it relies on brackish groundwater, not fresh water, to develop and run its plants. In a recent post, Fervo noted that its facilities consume significantly less water per megawatt-hour than coal, nuclear, or natural-gas plants do. Part of NV Energy’s proposed plan to meet growing electricity demands in Nevada includes developing several natural-gas peaking units, adding more than one gigawatt of solar power and installing another gigawatt of battery storage. It's also forging ahead with a more than billion transmission project. But the company didn’t respond to questions concerning how it will supply all of the gigawatts of additional electricity requested by data centers, if the construction of those power plants will increase consumer rates, or how much water those facilities are expected to consume. NV Energy operates a transmission line, substation, and power plant in or around the Tahoe Reno Industrial Center.EMILY NAJERA “NV Energy teams work diligently on our long-term planning to make investments in our infrastructure to serve new customers and the continued growth in the state without putting existing customers at risk,” the company said in a statement. An added challenge is that data centers need to run around the clock. That will often compel utilities to develop new electricity-generating sources that can run nonstop as well, as natural-gas, geothermal, or nuclear plants do, says Emily Grubert, an associate professor of sustainable energy policy at the University of Notre Dame, who has studied the relative water consumption of electricity sources.  “You end up with the water-intensive resources looking more important,” she adds. Even if NV Energy and the companies developing data centers do strive to power them through sources with relatively low water needs, “we only have so much ability to add six gigawatts to Nevada’s grid,” Grubert explains. “What you do will never be system-neutral, because it’s such a big number.” Securing supplies On a mid-February morning, I meet TRI’s Thompson and Don Gilman, Lance Gilman’s son, at the Storey County offices, located within the industrial center.  “I’m just a country boy who sells dirt,” Gilman, also a real estate broker, says by way of introduction.  We climb into his large SUV and drive to a reservoir in the heart of the industrial park, filled nearly to the lip.  Thompson explains that much of the water comes from an on-site treatment facility that filters waste fluids from companies in the park. In addition, tens of millions of gallons of treated effluent will also likely flow into the tank this year from the Truckee Meadows Water Authority Reclamation Facility, near the border of Reno and Sparks. That’s thanks to a 16-mile pipeline that the developers, the water authority, several tenants, and various local cities and agencies partnered to build, through a project that began in 2021. “Our general improvement district is furnishing that water to tech companies here in the park as we speak,” Thompson says. “That helps preserve the precious groundwater, so that is an environmental feather in the cap for these data centers. They are focused on environmental excellence.” The reservoir within the industrial business park provides water to data centers and other tenants.EMILY NAJERA But data centers often need drinking-quality water—not wastewater merely treated to irrigation standards—for evaporative cooling, “to avoid pipe clogs and/or bacterial growth,” the UC Riverside study notes. For instance, Google says its data centers withdrew about 7.7 billion gallons of water in 2023, and nearly 6 billion of those gallons were potable.  Tenants in the industrial park can potentially obtain access to water from the ground and the Truckee River, as well. From early on, the master developers worked hard to secure permits to water sources, since they are nearly as precious as development entitlements to companies hoping to build projects in the desert. Initially, the development company controlled a private business, the TRI Water and Sewer Company, that provided those services to the business park’s tenants, according to public documents. The company set up wells, a water tank, distribution lines, and a sewer disposal system.  But in 2000, the board of county commissioners established a general improvement district, a legal mechanism for providing municipal services in certain parts of the state, to manage electricity and then water within the center. It, in turn, hired TRI Water and Sewer as the operating company. As of its 2020 service plan, the general improvement district held permits for nearly 5,300 acre-feet of groundwater, “which can be pumped from well fields within the service area and used for new growth as it occurs.” The document lists another 2,000 acre-feet per year available from the on-site treatment facility, 1,000 from the Truckee River, and 4,000 more from the effluent pipeline.  Those figures haven’t budged much since, according to Shari Whalen, general manager of the TRI General Improvement District. All told, they add up to more than 4 billion gallons of water per year for all the needs of the industrial park and the tenants there, data centers and otherwise. Whalen says that the amount and quality of water required for any given data center depends on its design, and that those matters are worked out on a case-by-case basis.  When asked if the general improvement district is confident that it has adequate water resources to supply the needs of all the data centers under development, as well as other tenants at the industrial center, she says: “They can’t just show up and build unless they have water resources designated for their projects. We wouldn’t approve a project if it didn’t have those water resources.” Water As the region’s water sources have grown more constrained, lining up supplies has become an increasingly high-stakes and controversial business. More than a century ago, the US federal government filed a lawsuit against an assortment of parties pulling water from the Truckee River. The suit would eventually establish that the Pyramid Lake Paiute Tribe’s legal rights to water for irrigation superseded other claims. But the tribe has been fighting to protect those rights and increase flows from the river ever since, arguing that increasing strains on the watershed from upstream cities and businesses threaten to draw away water reserved for reservation farming, decrease lake levels, and harm native fish. The Pyramid Lake Paiute Tribe considers the water body and its fish, including the endangered cui-ui and threatened Lahontan cutthroat trout, to be essential parts of its culture, identity, and way of life. The tribe was originally named Cui-ui Ticutta, which translates to cui-ui eaters. The lake continues to provide sustenance as well as business for the tribe and its members, a number of whom operate boat charters and fishing guide services. “It’s completely tied into us as a people,” says Steven Wadsworth, chairman of the Pyramid Lake Paiute Tribe. “That is what has sustained us all this time,” he adds. “It’s just who we are. It’s part of our spiritual well-being.” Steven Wadsworth, chairman of the Pyramid Lake Paiute Tribe, fears that data centers will divert water that would otherwise reach the tribe’s namesake lake.EMILY NAJERA In recent decades, the tribe has sued the Nevada State Engineer, Washoe County, the federal government, and others for overallocating water rights and endangering the lake’s fish. It also protested the TRI General Improvement District’s applications to draw thousands of additional acre‑feet of groundwater from a basin near the business park. In 2019, the State Engineer’s office rejected those requests, concluding that the basin was already fully appropriated.  More recently, the tribe took issue with the plan to build the pipeline and divert effluent that would have flown into the Truckee, securing an agreement that required the Truckee Meadows Water Authority and other parties to add back several thousand acre‑feet of water to the river.  Whalen says she’s sensitive to Wadsworth’s concerns. But she says that the pipeline promises to keep a growing amount of treated wastewater out of the river, where it could otherwise contribute to rising salt levels in the lake. “I think that the pipeline fromto our system is good for water quality in the river,” she says. “I understand philosophically the concerns about data centers, but the general improvement district is dedicated to working with everyone on the river for regional water-resource planning—and the tribe is no exception.” Water efficiency  In an email, Thompson added that he has “great respect and admiration,” for the tribe and has visited the reservation several times in an effort to help bring industrial or commercial development there. He stressed that all of the business park’s groundwater was “validated by the State Water Engineer,” and that the rights to surface water and effluent were purchased “for fair market value.”During the earlier interview at the industrial center, he and Gilman had both expressed confidence that tenants in the park have adequate water supplies, and that the businesses won’t draw water away from other areas.  “We’re in our own aquifer, our own water basin here,” Thompson said. “You put a straw in the ground here, you’re not going to pull water from Fernley or from Reno or from Silver Springs.” Gilman also stressed that data-center companies have gotten more water efficient in recent years, echoing a point others made as well. “With the newer technology, it’s not much of a worry,” says Sutich, of the Northern Nevada Development Authority. “The technology has come a long way in the last 10 years, which is really giving these guys the opportunity to be good stewards of water usage.” An aerial view of the cooling tower fans at Google’s data center in the Tahoe Reno Industrial Center.GOOGLE Indeed, Google’s existing Storey County facility is air-cooled, according to the company’s latest environmental report. The data center withdrew 1.9 million gallons in 2023 but only consumed 200,000 gallons. The rest cycles back into the water system. Google said all the data centers under construction on its campus will also “utilize air-cooling technology.” The company didn’t respond to a question about the scale of its planned expansion in the Tahoe Reno Industrial Center, and referred a question about indirect water consumption to NV Energy. The search giant has stressed that it strives to be water efficient across all of its data centers, and decides whether to use air or liquid cooling based on local supply and projected demand, among other variables. Four years ago, the company set a goal of replenishing more water than it consumes by 2030. Locally, it also committed to provide half a million dollars to the National Forest Foundation to improve the Truckee River watershed and reduce wildfire risks.  Microsoft clearly suggested in earlier news reports that the Silver Springs land it purchased around the end of 2022 would be used for a data center. NAI Alliance’s market real estate report identifies that lot, as well as the parcel Microsoft purchased within the Tahoe Reno Industrial Center, as data center sites. But the company now declines to specify what it intends to build in the region.  “While the land purchase is public knowledge, we have not disclosed specific detailsour plans for the land or potential development timelines,” wrote Donna Whitehead, a Microsoft spokesperson, in an email.  Workers have begun grading land inside a fenced off lot within the Tahoe Reno Industrial Center.EMILY NAJERA Microsoft has also scaled down its global data-center ambitions, backing away from several projects in recent months amid shifting economic conditions, according to various reports. Whatever it ultimately does or doesn’t build, the company stresses that it has made strides to reduce water consumption in its facilities. Late last year, the company announced that it’s using “chip-level cooling solutions” in data centers, which continually circulate water between the servers and chillers through a closed loop that the company claims doesn’t lose any water to evaporation. It says the design requires only a “nominal increase” in energy compared to its data centers that rely on evaporative water cooling. Others seem to be taking a similar approach. EdgeCore also said its 900,000-square-foot data center at the Tahoe Reno Industrial Center will rely on an “air-cooled closed-loop chiller” that doesn’t require water evaporation for cooling.  But some of the companies seem to have taken steps to ensure access to significant amounts of water. Switch, for instance, took a lead role in developing the effluent pipeline. In addition, Tract, which develops campuses on which third-party data centers can build their own facilities, has said it lined up more than 1,100 acre-feet of water rights, the equivalent of nearly 360 million gallons a year.  Apple, Novva, Switch, Tract, and Vantage didn’t respond to inquiries from MIT Technology Review.  Coming conflicts  The suggestion that companies aren’t straining water supplies when they adopt air cooling is, in many cases, akin to saying they’re not responsible for the greenhouse gas produced through their power use simply because it occurs outside of their facilities. In fact, the additional water used at a power plant to meet the increased electricity needs of air cooling may exceed any gains at the data center, Ren, of UC Riverside, says. “That’s actually very likely, because it uses a lot more energy,” he adds. That means that some of the companies developing data centers in and around Storey County may simply hand off their water challenges to other parts of Nevada or neighboring states across the drying American West, depending on where and how the power is generated, Ren says.  Google has said its air-cooled facilities require about 10% more electricity, and its environmental report notes that the Storey County facility is one of its two least-energy-efficient data centers.  Pipes running along Google’s data center campus help the search company cool its servers.GOOGLE Some fear there’s also a growing mismatch between what Nevada’s water permits allow, what’s actually in the ground, and what nature will provide as climate conditions shift. Notably, the groundwater committed to all parties from the Tracy Segment basin—a long-fought-over resource that partially supplies the TRI General Improvement District—already exceeds the “perennial yield.” That refers to the maximum amount that can be drawn out every year without depleting the reservoir over the long term. “If pumping does ultimately exceed the available supply, that means there will be conflict among users,” Roerink, of the Great Basin Water Network, said in an email. “So I have to wonder: Who could be suing whom? Who could be buying out whom? How will the tribe’s rights be defended?”The Truckee Meadows Water Authority, the community-owned utility that manages the water system for Reno and Sparks, said it is planning carefully for the future and remains confident there will be “sufficient resources for decades to come,” at least within its territory east of the industrial center. Storey County, the Truckee-Carson Irrigation District, and the State Engineer’s office didn’t respond to questions or accept interview requests.  Open for business As data center proposals have begun shifting into Northern Nevada’s cities, more local residents and organizations have begun to take notice and express concerns. The regional division of the Sierra Club, for instance, recently sought to overturn the approval of Reno’s first data center, about 20 miles west of the Tahoe Reno Industrial Center.  Olivia Tanager, director of the Sierra Club’s Toiyabe Chapter, says the environmental organization was shocked by the projected electricity demands from data centers highlighted in NV Energy’s filings. Nevada’s wild horses are a common sight along USA Parkway, the highway cutting through the industrial business park. EMILY NAJERA “We have increasing interest in understanding the impact that data centers will have to our climate goals, to our grid as a whole, and certainly to our water resources,” she says. “The demands are extraordinary, and we don’t have that amount of water to toy around with.” During a city hall hearing in January that stretched late into the evening, she and a line of residents raised concerns about the water, energy, climate, and employment impacts of AI data centers. At the end, though, the city council upheld the planning department’s approval of the project, on a 5-2 vote. “Welcome to Reno,” Kathleen Taylor, Reno’s vice mayor, said before casting her vote. “We’re open for business.” Where the river ends In late March, I walk alongside Chairman Wadsworth, of the Pyramid Lake Paiute Tribe, on the shores of Pyramid Lake, watching a row of fly-fishers in waders cast their lines into the cold waters.  The lake is the largest remnant of Lake Lahontan, an Ice Age inland sea that once stretched across western Nevada and would have submerged present-day Reno. But as the climate warmed, the lapping waters retreated, etching erosional terraces into the mountainsides and exposing tufa deposits around the lake, large formations of porous rock made of calcium-carbonate. That includes the pyramid-shaped island on the eastern shore that inspired the lake’s name. A lone angler stands along the shores of Pyramid Lake. In the decades after the US Reclamation Service completed the Derby Dam in 1905, Pyramid Lake declined another 80 feet and nearby Winnemucca Lake dried up entirely. “We know what happens when water use goes unchecked,” says Wadsworth, gesturing eastward toward the range across the lake, where Winnemucca once filled the next basin over. “Because all we have to do is look over there and see a dry, barren lake bed that used to be full.”In an earlier interview, Wadsworth acknowledged that the world needs data centers. But he argued they should be spread out across the country, not densely clustered in the middle of the Nevada desert.Given the fierce competition for resources up to now, he can’t imagine how there could be enough water to meet the demands of data centers, expanding cities, and other growing businesses without straining the limited local supplies that should, by his accounting, flow to Pyramid Lake. He fears these growing pressures will force the tribe to wage new legal battles to protect their rights and preserve the lake, extending what he refers to as “a century of water wars.” “We have seen the devastating effects of what happens when you mess with Mother Nature,” Wadsworth says. “Part of our spirit has left us. And that’s why we fight so hard to hold on to what’s left.”
    #data #center #boom #desert
    The data center boom in the desert
    In the high desert east of Reno, Nevada, construction crews are flattening the golden foothills of the Virginia Range, laying the foundations of a data center city. Google, Tract, Switch, EdgeCore, Novva, Vantage, and PowerHouse are all operating, building, or expanding huge facilities within the Tahoe Reno Industrial Center, a business park bigger than the city of Detroit.  This story is a part of MIT Technology Review’s series “Power Hungry: AI and our energy future,” on the energy demands and carbon costs of the artificial-intelligence revolution. Meanwhile, Microsoft acquired more than 225 acres of undeveloped property within the center and an even larger plot in nearby Silver Springs, Nevada. Apple is expanding its data center, located just across the Truckee River from the industrial park. OpenAI has said it’s considering building a data center in Nevada as well. The corporate race to amass computing resources to train and run artificial intelligence models and store information in the cloud has sparked a data center boom in the desert—just far enough away from Nevada’s communities to elude wide notice and, some fear, adequate scrutiny.  Switch, a data center company based in Las Vegas, says the full build-out of its campus at the Tahoe Reno Industrial Center could exceed seven million square feet.EMILY NAJERA The full scale and potential environmental impacts of the developments aren’t known, because the footprint, energy needs, and water requirements are often closely guarded corporate secrets. Most of the companies didn’t respond to inquiries from MIT Technology Review, or declined to provide additional information about the projects.  But there’s “a whole lot of construction going on,” says Kris Thompson, who served as the longtime project manager for the industrial center before stepping down late last year. “The last number I heard was 13 million square feet under construction right now, which is massive.” Indeed, it’s the equivalent of almost five Empire State Buildings laid out flat. In addition, public filings from NV Energy, the state’s near-monopoly utility, reveal that a dozen data-center projects, mostly in this area, have requested nearly six gigawatts of electricity capacity within the next decade.  That would make the greater Reno area—the biggest little city in the world—one of the largest data-center markets around the globe. It would also require expanding the state’s power sector by about 40%, all for a single industry in an explosive growth stage that may, or may not, prove sustainable. The energy needs, in turn, suggest those projects could consume billions of gallons of water per year, according to an analysis conducted for this story.  Construction crews are busy building data centers throughout the Tahoe Reno Industrial Center.EMILY NAJERA The build-out of a dense cluster of energy and water-hungry data centers in a small stretch of the nation’s driest state, where climate change is driving up temperatures faster than anywhere else in the country, has begun to raise alarms among water experts, environmental groups, and residents. That includes members of the Pyramid Lake Paiute Tribe, whose namesake water body lies within their reservation and marks the end point of the Truckee River, the region’s main source of water. Much of Nevada has suffered through severe drought conditions for years, farmers and communities are drawing down many of the state’s groundwater reservoirs faster than they can be refilled, and global warming is sucking more and more moisture out of the region’s streams, shrubs, and soils. “Telling entities that they can come in and stick more straws in the ground for data centers is raising a lot of questions about sound management,” says Kyle Roerink, executive director of the Great Basin Water Network, a nonprofit that works to protect water resources throughout Nevada and Utah.  “We just don’t want to be in a situation where the tail is wagging the dog,” he later added, “where this demand for data centers is driving water policy.” Luring data centers In the late 1850s, the mountains southeast of Reno began enticing prospectors from across the country, who hoped to strike silver or gold in the famed Comstock Lode. But Storey County had few residents or economic prospects by the late 1990s, around the time when Don Roger Norman, a media-shy real estate speculator, spotted a new opportunity in the sagebrush-covered hills.  He began buying up tens of thousands of acres of land for tens of millions of dollars and lining up development approvals to lure industrial projects to what became the Tahoe Reno Industrial Center. His partners included Lance Gilman, a cowboy-hat-wearing real estate broker, who later bought the nearby Mustang Ranch brothel and won a seat as a county commissioner. In 1999, the county passed an ordinance that preapproves companies to develop most types of commercial and industrial projects across the business park, cutting months to years off the development process. That helped cinch deals with a flock of tenants looking to build big projects fast, including Walmart, Tesla, and Redwood Materials. Now the promise of fast permits is helping to draw data centers by the gigawatt. On a clear, cool January afternoon, Brian Armon, a commercial real estate broker who leads the industrial practices group at NAI Alliance, takes me on a tour of the projects around the region, which mostly entails driving around the business center. Lance Gilman, a local real estate broker, helped to develop the Tahoe Reno Industrial Center and land some of its largest tenants.GREGG SEGAL After pulling off Interstate 80 onto USA Parkway, he points out the cranes, earthmovers, and riprap foundations, where a variety of data centers are under construction. Deeper into the industrial park, Armon pulls up near Switch’s long, low, arched-roof facility, which sits on a terrace above cement walls and security gates. The Las Vegas–based company says the first phase of its data center campus encompasses more than a million square feet, and that the full build-out will cover seven times that space.  Over the next hill, we turn around in Google’s parking lot. Cranes, tents, framing, and construction equipment extend behind the company’s existing data center, filling much of the 1,210-acre lot that the search engine giant acquired in 2017. Last August, during an event at the University of Nevada, Reno, the company announced it would spend million to expand the data center campus along with another one in Las Vegas. Thompson says that the development company, Tahoe Reno Industrial LLC, has now sold off every parcel of developable land within the park. When I ask Armon what’s attracting all the data centers here, he starts with the fast approvals but cites a list of other lures as well: The inexpensive land. NV Energy’s willingness to strike deals to supply relatively low-cost electricity. Cool nighttime and winter temperatures, as far as American deserts go, which reduce the energy and water needs. The proximity to tech hubs such as Silicon Valley, which cuts latency for applications in which milliseconds matter. And the lack of natural disasters that could shut down the facilities, at least for the most part. “We are high in seismic activity,” he says. “But everything else is good. We’re not going to have a tornado or flood or a devastating wildfire.” Then there’s the generous tax policies.In 2023, Novva, a Utah-based data center company, announced plans to build a 300,000-square-foot facility within the industrial business park. Nevada doesn’t charge corporate income tax, and it has also enacted deep tax cuts specifically for data centers that set up shop in the state. That includes abatements of up to 75% on property tax for a decade or two—and nearly as much of a bargain on the sales and use taxes applied to equipment purchased for the facilities. Data centers don’t require many permanent workers to run the operations, but the projects have created thousands of construction jobs. They’re also helping to diversify the region’s economy beyond casinos and generating tax windfalls for the state, counties, and cities, says Jeff Sutich, executive director of the Northern Nevada Development Authority. Indeed, just three data-center projects, developed by Apple, Google, and Vantage, will produce nearly half a billion dollars in tax revenue for Nevada, even with those generous abatements, according to the Nevada Governor’s Office of Economic Development. The question is whether the benefits of data centers are worth the tradeoffs for Nevadans, given the public health costs, greenhouse-gas emissions, energy demands, and water strains. The rain shadow The Sierra Nevada’s granite peaks trace the eastern edge of California, forcing Pacific Ocean winds to rise and cool. That converts water vapor in the air into the rain and snow that fill the range’s tributaries, rivers, and lakes.  But the same meteorological phenomenon casts a rain shadow over much of neighboring Nevada, forming an arid expanse known as the Great Basin Desert. The state receives about 10 inches of precipitation a year, about a third of the national average. The Truckee River draws from the melting Sierra snowpack at the edge of Lake Tahoe, cascades down the range, and snakes through the flatlands of Reno and Sparks. It forks at the Derby Dam, a Reclamation Act project a few miles from the Tahoe Reno Industrial Center, which diverts water to a farming region further east while allowing the rest to continue north toward Pyramid Lake.  Along the way, an engineered system of reservoirs, canals, and treatment plants divert, store, and release water from the river, supplying businesses, cities, towns, and native tribes across the region. But Nevada’s population and economy are expanding, creating more demands on these resources even as they become more constrained.  The Truckee River, which originates at Lake Tahoe and terminates at Pyramid Lake, is the major water source for cities, towns, and farms across northwestern Nevada.EMILY NAJERA Throughout much of the 2020s the state has suffered through one of the hottest and most widespread droughts on record, extending two decades of abnormally dry conditions across the American West. Some scientists fear it may constitute an emerging megadrought.  About 50% of Nevada currently faces moderate to exceptional drought conditions. In addition, more than half of the state’s hundreds of groundwater basins are already “over-appropriated,” meaning the water rights on paper exceed the levels believed to be underground.  It’s not clear if climate change will increase or decrease the state’s rainfall levels, on balance. But precipitation patterns are expected to become more erratic, whiplashing between short periods of intense rainfall and more-frequent, extended, or severe droughts.  In addition, more precipitation will fall as rain rather than snow, shortening the Sierra snow season by weeks to months over the coming decades.  “In the extreme case, at the end of the century, that’s pretty much all of winter,” says Sean McKenna, executive director of hydrologic sciences at the Desert Research Institute, a research division of the Nevada System of Higher Education. That loss will undermine an essential function of the Sierra snowpack: reliably delivering water to farmers and cities when it’s most needed in the spring and summer, across both Nevada and California.  These shifting conditions will require the region to develop better ways to store, preserve, and recycle the water it does get, McKenna says. Northern Nevada’s cities, towns, and agencies will also need to carefully evaluate and plan for the collective impacts of continuing growth and development on the interconnected water system, particularly when it comes to water-hungry projects like data centers, he adds. “We can’t consider each of these as a one-off, without considering that there may be tens or dozens of these in the next 15 years,” McKenna says.Thirsty data centers Data centers suck up water in two main ways. As giant rooms of server racks process information and consume energy, they generate heat that must be shunted away to prevent malfunctions and damage to the equipment. The processing units optimized for training and running AI models often draw more electricity and, in turn, produce more heat. To keep things cool, more and more data centers have turned to liquid cooling systems that don’t need as much electricity as fan cooling or air-conditioning. These often rely on water to absorb heat and transfer it to outdoor cooling towers, where much of the moisture evaporates. Microsoft’s US data centers, for instance, could have directly evaporated nearly 185,000 gallons of “clean freshwater” in the course of training OpenAI’s GPT-3 large language model, according to a 2023 preprint study led by researchers at the University of California, Riverside.What’s less appreciated, however, is that the larger data-center drain on water generally occurs indirectly, at the power plants generating extra electricity for the turbocharged AI sector. These facilities, in turn, require more water to cool down equipment, among other purposes. You have to add up both uses “to reflect the true water cost of data centers,” says Shaolei Ren, an associate professor of electrical and computer engineering at UC Riverside and coauthor of the study. Ren estimates that the 12 data-center projects listed in NV Energy’s report would directly consume between 860 million gallons and 5.7 billion gallons a year, based on the requested electricity capacity.The indirect water drain associated with electricity generation for those operations could add up to 15.5 billion gallons, based on the average consumption of the regional grid. The exact water figures would depend on shifting climate conditions, the type of cooling systems each data center uses, and the mix of power sources that supply the facilities. Solar power, which provides roughly a quarter of Nevada’s power, requires relatively little water to operate, for instance. But natural-gas plants, which generate about 56%, withdraw 2,803 gallons per megawatt-hour on average, according to the Energy Information Administration.  Geothermal plants, which produce about 10% of the state’s electricity by cycling water through hot rocks, generally consume less water than fossil fuel plants do but often require more water than other renewables, according to some research.  But here too, the water usage varies depending on the type of geothermal plant in question. Google has lined up several deals to partially power its data centers through Fervo Energy, which has helped to commercialize an emerging approach that injects water under high pressure to fracture rock and form wells deep below the surface.  The company stresses that it doesn’t evaporate water for cooling and that it relies on brackish groundwater, not fresh water, to develop and run its plants. In a recent post, Fervo noted that its facilities consume significantly less water per megawatt-hour than coal, nuclear, or natural-gas plants do. Part of NV Energy’s proposed plan to meet growing electricity demands in Nevada includes developing several natural-gas peaking units, adding more than one gigawatt of solar power and installing another gigawatt of battery storage. It's also forging ahead with a more than billion transmission project. But the company didn’t respond to questions concerning how it will supply all of the gigawatts of additional electricity requested by data centers, if the construction of those power plants will increase consumer rates, or how much water those facilities are expected to consume. NV Energy operates a transmission line, substation, and power plant in or around the Tahoe Reno Industrial Center.EMILY NAJERA “NV Energy teams work diligently on our long-term planning to make investments in our infrastructure to serve new customers and the continued growth in the state without putting existing customers at risk,” the company said in a statement. An added challenge is that data centers need to run around the clock. That will often compel utilities to develop new electricity-generating sources that can run nonstop as well, as natural-gas, geothermal, or nuclear plants do, says Emily Grubert, an associate professor of sustainable energy policy at the University of Notre Dame, who has studied the relative water consumption of electricity sources.  “You end up with the water-intensive resources looking more important,” she adds. Even if NV Energy and the companies developing data centers do strive to power them through sources with relatively low water needs, “we only have so much ability to add six gigawatts to Nevada’s grid,” Grubert explains. “What you do will never be system-neutral, because it’s such a big number.” Securing supplies On a mid-February morning, I meet TRI’s Thompson and Don Gilman, Lance Gilman’s son, at the Storey County offices, located within the industrial center.  “I’m just a country boy who sells dirt,” Gilman, also a real estate broker, says by way of introduction.  We climb into his large SUV and drive to a reservoir in the heart of the industrial park, filled nearly to the lip.  Thompson explains that much of the water comes from an on-site treatment facility that filters waste fluids from companies in the park. In addition, tens of millions of gallons of treated effluent will also likely flow into the tank this year from the Truckee Meadows Water Authority Reclamation Facility, near the border of Reno and Sparks. That’s thanks to a 16-mile pipeline that the developers, the water authority, several tenants, and various local cities and agencies partnered to build, through a project that began in 2021. “Our general improvement district is furnishing that water to tech companies here in the park as we speak,” Thompson says. “That helps preserve the precious groundwater, so that is an environmental feather in the cap for these data centers. They are focused on environmental excellence.” The reservoir within the industrial business park provides water to data centers and other tenants.EMILY NAJERA But data centers often need drinking-quality water—not wastewater merely treated to irrigation standards—for evaporative cooling, “to avoid pipe clogs and/or bacterial growth,” the UC Riverside study notes. For instance, Google says its data centers withdrew about 7.7 billion gallons of water in 2023, and nearly 6 billion of those gallons were potable.  Tenants in the industrial park can potentially obtain access to water from the ground and the Truckee River, as well. From early on, the master developers worked hard to secure permits to water sources, since they are nearly as precious as development entitlements to companies hoping to build projects in the desert. Initially, the development company controlled a private business, the TRI Water and Sewer Company, that provided those services to the business park’s tenants, according to public documents. The company set up wells, a water tank, distribution lines, and a sewer disposal system.  But in 2000, the board of county commissioners established a general improvement district, a legal mechanism for providing municipal services in certain parts of the state, to manage electricity and then water within the center. It, in turn, hired TRI Water and Sewer as the operating company. As of its 2020 service plan, the general improvement district held permits for nearly 5,300 acre-feet of groundwater, “which can be pumped from well fields within the service area and used for new growth as it occurs.” The document lists another 2,000 acre-feet per year available from the on-site treatment facility, 1,000 from the Truckee River, and 4,000 more from the effluent pipeline.  Those figures haven’t budged much since, according to Shari Whalen, general manager of the TRI General Improvement District. All told, they add up to more than 4 billion gallons of water per year for all the needs of the industrial park and the tenants there, data centers and otherwise. Whalen says that the amount and quality of water required for any given data center depends on its design, and that those matters are worked out on a case-by-case basis.  When asked if the general improvement district is confident that it has adequate water resources to supply the needs of all the data centers under development, as well as other tenants at the industrial center, she says: “They can’t just show up and build unless they have water resources designated for their projects. We wouldn’t approve a project if it didn’t have those water resources.” Water As the region’s water sources have grown more constrained, lining up supplies has become an increasingly high-stakes and controversial business. More than a century ago, the US federal government filed a lawsuit against an assortment of parties pulling water from the Truckee River. The suit would eventually establish that the Pyramid Lake Paiute Tribe’s legal rights to water for irrigation superseded other claims. But the tribe has been fighting to protect those rights and increase flows from the river ever since, arguing that increasing strains on the watershed from upstream cities and businesses threaten to draw away water reserved for reservation farming, decrease lake levels, and harm native fish. The Pyramid Lake Paiute Tribe considers the water body and its fish, including the endangered cui-ui and threatened Lahontan cutthroat trout, to be essential parts of its culture, identity, and way of life. The tribe was originally named Cui-ui Ticutta, which translates to cui-ui eaters. The lake continues to provide sustenance as well as business for the tribe and its members, a number of whom operate boat charters and fishing guide services. “It’s completely tied into us as a people,” says Steven Wadsworth, chairman of the Pyramid Lake Paiute Tribe. “That is what has sustained us all this time,” he adds. “It’s just who we are. It’s part of our spiritual well-being.” Steven Wadsworth, chairman of the Pyramid Lake Paiute Tribe, fears that data centers will divert water that would otherwise reach the tribe’s namesake lake.EMILY NAJERA In recent decades, the tribe has sued the Nevada State Engineer, Washoe County, the federal government, and others for overallocating water rights and endangering the lake’s fish. It also protested the TRI General Improvement District’s applications to draw thousands of additional acre‑feet of groundwater from a basin near the business park. In 2019, the State Engineer’s office rejected those requests, concluding that the basin was already fully appropriated.  More recently, the tribe took issue with the plan to build the pipeline and divert effluent that would have flown into the Truckee, securing an agreement that required the Truckee Meadows Water Authority and other parties to add back several thousand acre‑feet of water to the river.  Whalen says she’s sensitive to Wadsworth’s concerns. But she says that the pipeline promises to keep a growing amount of treated wastewater out of the river, where it could otherwise contribute to rising salt levels in the lake. “I think that the pipeline fromto our system is good for water quality in the river,” she says. “I understand philosophically the concerns about data centers, but the general improvement district is dedicated to working with everyone on the river for regional water-resource planning—and the tribe is no exception.” Water efficiency  In an email, Thompson added that he has “great respect and admiration,” for the tribe and has visited the reservation several times in an effort to help bring industrial or commercial development there. He stressed that all of the business park’s groundwater was “validated by the State Water Engineer,” and that the rights to surface water and effluent were purchased “for fair market value.”During the earlier interview at the industrial center, he and Gilman had both expressed confidence that tenants in the park have adequate water supplies, and that the businesses won’t draw water away from other areas.  “We’re in our own aquifer, our own water basin here,” Thompson said. “You put a straw in the ground here, you’re not going to pull water from Fernley or from Reno or from Silver Springs.” Gilman also stressed that data-center companies have gotten more water efficient in recent years, echoing a point others made as well. “With the newer technology, it’s not much of a worry,” says Sutich, of the Northern Nevada Development Authority. “The technology has come a long way in the last 10 years, which is really giving these guys the opportunity to be good stewards of water usage.” An aerial view of the cooling tower fans at Google’s data center in the Tahoe Reno Industrial Center.GOOGLE Indeed, Google’s existing Storey County facility is air-cooled, according to the company’s latest environmental report. The data center withdrew 1.9 million gallons in 2023 but only consumed 200,000 gallons. The rest cycles back into the water system. Google said all the data centers under construction on its campus will also “utilize air-cooling technology.” The company didn’t respond to a question about the scale of its planned expansion in the Tahoe Reno Industrial Center, and referred a question about indirect water consumption to NV Energy. The search giant has stressed that it strives to be water efficient across all of its data centers, and decides whether to use air or liquid cooling based on local supply and projected demand, among other variables. Four years ago, the company set a goal of replenishing more water than it consumes by 2030. Locally, it also committed to provide half a million dollars to the National Forest Foundation to improve the Truckee River watershed and reduce wildfire risks.  Microsoft clearly suggested in earlier news reports that the Silver Springs land it purchased around the end of 2022 would be used for a data center. NAI Alliance’s market real estate report identifies that lot, as well as the parcel Microsoft purchased within the Tahoe Reno Industrial Center, as data center sites. But the company now declines to specify what it intends to build in the region.  “While the land purchase is public knowledge, we have not disclosed specific detailsour plans for the land or potential development timelines,” wrote Donna Whitehead, a Microsoft spokesperson, in an email.  Workers have begun grading land inside a fenced off lot within the Tahoe Reno Industrial Center.EMILY NAJERA Microsoft has also scaled down its global data-center ambitions, backing away from several projects in recent months amid shifting economic conditions, according to various reports. Whatever it ultimately does or doesn’t build, the company stresses that it has made strides to reduce water consumption in its facilities. Late last year, the company announced that it’s using “chip-level cooling solutions” in data centers, which continually circulate water between the servers and chillers through a closed loop that the company claims doesn’t lose any water to evaporation. It says the design requires only a “nominal increase” in energy compared to its data centers that rely on evaporative water cooling. Others seem to be taking a similar approach. EdgeCore also said its 900,000-square-foot data center at the Tahoe Reno Industrial Center will rely on an “air-cooled closed-loop chiller” that doesn’t require water evaporation for cooling.  But some of the companies seem to have taken steps to ensure access to significant amounts of water. Switch, for instance, took a lead role in developing the effluent pipeline. In addition, Tract, which develops campuses on which third-party data centers can build their own facilities, has said it lined up more than 1,100 acre-feet of water rights, the equivalent of nearly 360 million gallons a year.  Apple, Novva, Switch, Tract, and Vantage didn’t respond to inquiries from MIT Technology Review.  Coming conflicts  The suggestion that companies aren’t straining water supplies when they adopt air cooling is, in many cases, akin to saying they’re not responsible for the greenhouse gas produced through their power use simply because it occurs outside of their facilities. In fact, the additional water used at a power plant to meet the increased electricity needs of air cooling may exceed any gains at the data center, Ren, of UC Riverside, says. “That’s actually very likely, because it uses a lot more energy,” he adds. That means that some of the companies developing data centers in and around Storey County may simply hand off their water challenges to other parts of Nevada or neighboring states across the drying American West, depending on where and how the power is generated, Ren says.  Google has said its air-cooled facilities require about 10% more electricity, and its environmental report notes that the Storey County facility is one of its two least-energy-efficient data centers.  Pipes running along Google’s data center campus help the search company cool its servers.GOOGLE Some fear there’s also a growing mismatch between what Nevada’s water permits allow, what’s actually in the ground, and what nature will provide as climate conditions shift. Notably, the groundwater committed to all parties from the Tracy Segment basin—a long-fought-over resource that partially supplies the TRI General Improvement District—already exceeds the “perennial yield.” That refers to the maximum amount that can be drawn out every year without depleting the reservoir over the long term. “If pumping does ultimately exceed the available supply, that means there will be conflict among users,” Roerink, of the Great Basin Water Network, said in an email. “So I have to wonder: Who could be suing whom? Who could be buying out whom? How will the tribe’s rights be defended?”The Truckee Meadows Water Authority, the community-owned utility that manages the water system for Reno and Sparks, said it is planning carefully for the future and remains confident there will be “sufficient resources for decades to come,” at least within its territory east of the industrial center. Storey County, the Truckee-Carson Irrigation District, and the State Engineer’s office didn’t respond to questions or accept interview requests.  Open for business As data center proposals have begun shifting into Northern Nevada’s cities, more local residents and organizations have begun to take notice and express concerns. The regional division of the Sierra Club, for instance, recently sought to overturn the approval of Reno’s first data center, about 20 miles west of the Tahoe Reno Industrial Center.  Olivia Tanager, director of the Sierra Club’s Toiyabe Chapter, says the environmental organization was shocked by the projected electricity demands from data centers highlighted in NV Energy’s filings. Nevada’s wild horses are a common sight along USA Parkway, the highway cutting through the industrial business park. EMILY NAJERA “We have increasing interest in understanding the impact that data centers will have to our climate goals, to our grid as a whole, and certainly to our water resources,” she says. “The demands are extraordinary, and we don’t have that amount of water to toy around with.” During a city hall hearing in January that stretched late into the evening, she and a line of residents raised concerns about the water, energy, climate, and employment impacts of AI data centers. At the end, though, the city council upheld the planning department’s approval of the project, on a 5-2 vote. “Welcome to Reno,” Kathleen Taylor, Reno’s vice mayor, said before casting her vote. “We’re open for business.” Where the river ends In late March, I walk alongside Chairman Wadsworth, of the Pyramid Lake Paiute Tribe, on the shores of Pyramid Lake, watching a row of fly-fishers in waders cast their lines into the cold waters.  The lake is the largest remnant of Lake Lahontan, an Ice Age inland sea that once stretched across western Nevada and would have submerged present-day Reno. But as the climate warmed, the lapping waters retreated, etching erosional terraces into the mountainsides and exposing tufa deposits around the lake, large formations of porous rock made of calcium-carbonate. That includes the pyramid-shaped island on the eastern shore that inspired the lake’s name. A lone angler stands along the shores of Pyramid Lake. In the decades after the US Reclamation Service completed the Derby Dam in 1905, Pyramid Lake declined another 80 feet and nearby Winnemucca Lake dried up entirely. “We know what happens when water use goes unchecked,” says Wadsworth, gesturing eastward toward the range across the lake, where Winnemucca once filled the next basin over. “Because all we have to do is look over there and see a dry, barren lake bed that used to be full.”In an earlier interview, Wadsworth acknowledged that the world needs data centers. But he argued they should be spread out across the country, not densely clustered in the middle of the Nevada desert.Given the fierce competition for resources up to now, he can’t imagine how there could be enough water to meet the demands of data centers, expanding cities, and other growing businesses without straining the limited local supplies that should, by his accounting, flow to Pyramid Lake. He fears these growing pressures will force the tribe to wage new legal battles to protect their rights and preserve the lake, extending what he refers to as “a century of water wars.” “We have seen the devastating effects of what happens when you mess with Mother Nature,” Wadsworth says. “Part of our spirit has left us. And that’s why we fight so hard to hold on to what’s left.” #data #center #boom #desert
    WWW.TECHNOLOGYREVIEW.COM
    The data center boom in the desert
    In the high desert east of Reno, Nevada, construction crews are flattening the golden foothills of the Virginia Range, laying the foundations of a data center city. Google, Tract, Switch, EdgeCore, Novva, Vantage, and PowerHouse are all operating, building, or expanding huge facilities within the Tahoe Reno Industrial Center, a business park bigger than the city of Detroit.  This story is a part of MIT Technology Review’s series “Power Hungry: AI and our energy future,” on the energy demands and carbon costs of the artificial-intelligence revolution. Meanwhile, Microsoft acquired more than 225 acres of undeveloped property within the center and an even larger plot in nearby Silver Springs, Nevada. Apple is expanding its data center, located just across the Truckee River from the industrial park. OpenAI has said it’s considering building a data center in Nevada as well. The corporate race to amass computing resources to train and run artificial intelligence models and store information in the cloud has sparked a data center boom in the desert—just far enough away from Nevada’s communities to elude wide notice and, some fear, adequate scrutiny.  Switch, a data center company based in Las Vegas, says the full build-out of its campus at the Tahoe Reno Industrial Center could exceed seven million square feet.EMILY NAJERA The full scale and potential environmental impacts of the developments aren’t known, because the footprint, energy needs, and water requirements are often closely guarded corporate secrets. Most of the companies didn’t respond to inquiries from MIT Technology Review, or declined to provide additional information about the projects.  But there’s “a whole lot of construction going on,” says Kris Thompson, who served as the longtime project manager for the industrial center before stepping down late last year. “The last number I heard was 13 million square feet under construction right now, which is massive.” Indeed, it’s the equivalent of almost five Empire State Buildings laid out flat. In addition, public filings from NV Energy, the state’s near-monopoly utility, reveal that a dozen data-center projects, mostly in this area, have requested nearly six gigawatts of electricity capacity within the next decade.  That would make the greater Reno area—the biggest little city in the world—one of the largest data-center markets around the globe. It would also require expanding the state’s power sector by about 40%, all for a single industry in an explosive growth stage that may, or may not, prove sustainable. The energy needs, in turn, suggest those projects could consume billions of gallons of water per year, according to an analysis conducted for this story.  Construction crews are busy building data centers throughout the Tahoe Reno Industrial Center.EMILY NAJERA The build-out of a dense cluster of energy and water-hungry data centers in a small stretch of the nation’s driest state, where climate change is driving up temperatures faster than anywhere else in the country, has begun to raise alarms among water experts, environmental groups, and residents. That includes members of the Pyramid Lake Paiute Tribe, whose namesake water body lies within their reservation and marks the end point of the Truckee River, the region’s main source of water. Much of Nevada has suffered through severe drought conditions for years, farmers and communities are drawing down many of the state’s groundwater reservoirs faster than they can be refilled, and global warming is sucking more and more moisture out of the region’s streams, shrubs, and soils. “Telling entities that they can come in and stick more straws in the ground for data centers is raising a lot of questions about sound management,” says Kyle Roerink, executive director of the Great Basin Water Network, a nonprofit that works to protect water resources throughout Nevada and Utah.  “We just don’t want to be in a situation where the tail is wagging the dog,” he later added, “where this demand for data centers is driving water policy.” Luring data centers In the late 1850s, the mountains southeast of Reno began enticing prospectors from across the country, who hoped to strike silver or gold in the famed Comstock Lode. But Storey County had few residents or economic prospects by the late 1990s, around the time when Don Roger Norman, a media-shy real estate speculator, spotted a new opportunity in the sagebrush-covered hills.  He began buying up tens of thousands of acres of land for tens of millions of dollars and lining up development approvals to lure industrial projects to what became the Tahoe Reno Industrial Center. His partners included Lance Gilman, a cowboy-hat-wearing real estate broker, who later bought the nearby Mustang Ranch brothel and won a seat as a county commissioner. In 1999, the county passed an ordinance that preapproves companies to develop most types of commercial and industrial projects across the business park, cutting months to years off the development process. That helped cinch deals with a flock of tenants looking to build big projects fast, including Walmart, Tesla, and Redwood Materials. Now the promise of fast permits is helping to draw data centers by the gigawatt. On a clear, cool January afternoon, Brian Armon, a commercial real estate broker who leads the industrial practices group at NAI Alliance, takes me on a tour of the projects around the region, which mostly entails driving around the business center. Lance Gilman, a local real estate broker, helped to develop the Tahoe Reno Industrial Center and land some of its largest tenants.GREGG SEGAL After pulling off Interstate 80 onto USA Parkway, he points out the cranes, earthmovers, and riprap foundations, where a variety of data centers are under construction. Deeper into the industrial park, Armon pulls up near Switch’s long, low, arched-roof facility, which sits on a terrace above cement walls and security gates. The Las Vegas–based company says the first phase of its data center campus encompasses more than a million square feet, and that the full build-out will cover seven times that space.  Over the next hill, we turn around in Google’s parking lot. Cranes, tents, framing, and construction equipment extend behind the company’s existing data center, filling much of the 1,210-acre lot that the search engine giant acquired in 2017. Last August, during an event at the University of Nevada, Reno, the company announced it would spend $400 million to expand the data center campus along with another one in Las Vegas. Thompson says that the development company, Tahoe Reno Industrial LLC, has now sold off every parcel of developable land within the park (although several lots are available for resale following the failed gamble of one crypto tenant). When I ask Armon what’s attracting all the data centers here, he starts with the fast approvals but cites a list of other lures as well: The inexpensive land. NV Energy’s willingness to strike deals to supply relatively low-cost electricity. Cool nighttime and winter temperatures, as far as American deserts go, which reduce the energy and water needs. The proximity to tech hubs such as Silicon Valley, which cuts latency for applications in which milliseconds matter. And the lack of natural disasters that could shut down the facilities, at least for the most part. “We are high in seismic activity,” he says. “But everything else is good. We’re not going to have a tornado or flood or a devastating wildfire.” Then there’s the generous tax policies.In 2023, Novva, a Utah-based data center company, announced plans to build a 300,000-square-foot facility within the industrial business park. Nevada doesn’t charge corporate income tax, and it has also enacted deep tax cuts specifically for data centers that set up shop in the state. That includes abatements of up to 75% on property tax for a decade or two—and nearly as much of a bargain on the sales and use taxes applied to equipment purchased for the facilities. Data centers don’t require many permanent workers to run the operations, but the projects have created thousands of construction jobs. They’re also helping to diversify the region’s economy beyond casinos and generating tax windfalls for the state, counties, and cities, says Jeff Sutich, executive director of the Northern Nevada Development Authority. Indeed, just three data-center projects, developed by Apple, Google, and Vantage, will produce nearly half a billion dollars in tax revenue for Nevada, even with those generous abatements, according to the Nevada Governor’s Office of Economic Development. The question is whether the benefits of data centers are worth the tradeoffs for Nevadans, given the public health costs, greenhouse-gas emissions, energy demands, and water strains. The rain shadow The Sierra Nevada’s granite peaks trace the eastern edge of California, forcing Pacific Ocean winds to rise and cool. That converts water vapor in the air into the rain and snow that fill the range’s tributaries, rivers, and lakes.  But the same meteorological phenomenon casts a rain shadow over much of neighboring Nevada, forming an arid expanse known as the Great Basin Desert. The state receives about 10 inches of precipitation a year, about a third of the national average. The Truckee River draws from the melting Sierra snowpack at the edge of Lake Tahoe, cascades down the range, and snakes through the flatlands of Reno and Sparks. It forks at the Derby Dam, a Reclamation Act project a few miles from the Tahoe Reno Industrial Center, which diverts water to a farming region further east while allowing the rest to continue north toward Pyramid Lake.  Along the way, an engineered system of reservoirs, canals, and treatment plants divert, store, and release water from the river, supplying businesses, cities, towns, and native tribes across the region. But Nevada’s population and economy are expanding, creating more demands on these resources even as they become more constrained.  The Truckee River, which originates at Lake Tahoe and terminates at Pyramid Lake, is the major water source for cities, towns, and farms across northwestern Nevada.EMILY NAJERA Throughout much of the 2020s the state has suffered through one of the hottest and most widespread droughts on record, extending two decades of abnormally dry conditions across the American West. Some scientists fear it may constitute an emerging megadrought.  About 50% of Nevada currently faces moderate to exceptional drought conditions. In addition, more than half of the state’s hundreds of groundwater basins are already “over-appropriated,” meaning the water rights on paper exceed the levels believed to be underground.  It’s not clear if climate change will increase or decrease the state’s rainfall levels, on balance. But precipitation patterns are expected to become more erratic, whiplashing between short periods of intense rainfall and more-frequent, extended, or severe droughts.  In addition, more precipitation will fall as rain rather than snow, shortening the Sierra snow season by weeks to months over the coming decades.  “In the extreme case, at the end of the century, that’s pretty much all of winter,” says Sean McKenna, executive director of hydrologic sciences at the Desert Research Institute, a research division of the Nevada System of Higher Education. That loss will undermine an essential function of the Sierra snowpack: reliably delivering water to farmers and cities when it’s most needed in the spring and summer, across both Nevada and California.  These shifting conditions will require the region to develop better ways to store, preserve, and recycle the water it does get, McKenna says. Northern Nevada’s cities, towns, and agencies will also need to carefully evaluate and plan for the collective impacts of continuing growth and development on the interconnected water system, particularly when it comes to water-hungry projects like data centers, he adds. “We can’t consider each of these as a one-off, without considering that there may be tens or dozens of these in the next 15 years,” McKenna says.Thirsty data centers Data centers suck up water in two main ways. As giant rooms of server racks process information and consume energy, they generate heat that must be shunted away to prevent malfunctions and damage to the equipment. The processing units optimized for training and running AI models often draw more electricity and, in turn, produce more heat. To keep things cool, more and more data centers have turned to liquid cooling systems that don’t need as much electricity as fan cooling or air-conditioning. These often rely on water to absorb heat and transfer it to outdoor cooling towers, where much of the moisture evaporates. Microsoft’s US data centers, for instance, could have directly evaporated nearly 185,000 gallons of “clean freshwater” in the course of training OpenAI’s GPT-3 large language model, according to a 2023 preprint study led by researchers at the University of California, Riverside. (The research has since been peer-reviewed and is awaiting publication.) What’s less appreciated, however, is that the larger data-center drain on water generally occurs indirectly, at the power plants generating extra electricity for the turbocharged AI sector. These facilities, in turn, require more water to cool down equipment, among other purposes. You have to add up both uses “to reflect the true water cost of data centers,” says Shaolei Ren, an associate professor of electrical and computer engineering at UC Riverside and coauthor of the study. Ren estimates that the 12 data-center projects listed in NV Energy’s report would directly consume between 860 million gallons and 5.7 billion gallons a year, based on the requested electricity capacity. (“Consumed” here means the water is evaporated, not merely withdrawn and returned to the engineered water system.) The indirect water drain associated with electricity generation for those operations could add up to 15.5 billion gallons, based on the average consumption of the regional grid. The exact water figures would depend on shifting climate conditions, the type of cooling systems each data center uses, and the mix of power sources that supply the facilities. Solar power, which provides roughly a quarter of Nevada’s power, requires relatively little water to operate, for instance. But natural-gas plants, which generate about 56%, withdraw 2,803 gallons per megawatt-hour on average, according to the Energy Information Administration.  Geothermal plants, which produce about 10% of the state’s electricity by cycling water through hot rocks, generally consume less water than fossil fuel plants do but often require more water than other renewables, according to some research.  But here too, the water usage varies depending on the type of geothermal plant in question. Google has lined up several deals to partially power its data centers through Fervo Energy, which has helped to commercialize an emerging approach that injects water under high pressure to fracture rock and form wells deep below the surface.  The company stresses that it doesn’t evaporate water for cooling and that it relies on brackish groundwater, not fresh water, to develop and run its plants. In a recent post, Fervo noted that its facilities consume significantly less water per megawatt-hour than coal, nuclear, or natural-gas plants do. Part of NV Energy’s proposed plan to meet growing electricity demands in Nevada includes developing several natural-gas peaking units, adding more than one gigawatt of solar power and installing another gigawatt of battery storage. It's also forging ahead with a more than $4 billion transmission project. But the company didn’t respond to questions concerning how it will supply all of the gigawatts of additional electricity requested by data centers, if the construction of those power plants will increase consumer rates, or how much water those facilities are expected to consume. NV Energy operates a transmission line, substation, and power plant in or around the Tahoe Reno Industrial Center.EMILY NAJERA “NV Energy teams work diligently on our long-term planning to make investments in our infrastructure to serve new customers and the continued growth in the state without putting existing customers at risk,” the company said in a statement. An added challenge is that data centers need to run around the clock. That will often compel utilities to develop new electricity-generating sources that can run nonstop as well, as natural-gas, geothermal, or nuclear plants do, says Emily Grubert, an associate professor of sustainable energy policy at the University of Notre Dame, who has studied the relative water consumption of electricity sources.  “You end up with the water-intensive resources looking more important,” she adds. Even if NV Energy and the companies developing data centers do strive to power them through sources with relatively low water needs, “we only have so much ability to add six gigawatts to Nevada’s grid,” Grubert explains. “What you do will never be system-neutral, because it’s such a big number.” Securing supplies On a mid-February morning, I meet TRI’s Thompson and Don Gilman, Lance Gilman’s son, at the Storey County offices, located within the industrial center.  “I’m just a country boy who sells dirt,” Gilman, also a real estate broker, says by way of introduction.  We climb into his large SUV and drive to a reservoir in the heart of the industrial park, filled nearly to the lip.  Thompson explains that much of the water comes from an on-site treatment facility that filters waste fluids from companies in the park. In addition, tens of millions of gallons of treated effluent will also likely flow into the tank this year from the Truckee Meadows Water Authority Reclamation Facility, near the border of Reno and Sparks. That’s thanks to a 16-mile pipeline that the developers, the water authority, several tenants, and various local cities and agencies partnered to build, through a project that began in 2021. “Our general improvement district is furnishing that water to tech companies here in the park as we speak,” Thompson says. “That helps preserve the precious groundwater, so that is an environmental feather in the cap for these data centers. They are focused on environmental excellence.” The reservoir within the industrial business park provides water to data centers and other tenants.EMILY NAJERA But data centers often need drinking-quality water—not wastewater merely treated to irrigation standards—for evaporative cooling, “to avoid pipe clogs and/or bacterial growth,” the UC Riverside study notes. For instance, Google says its data centers withdrew about 7.7 billion gallons of water in 2023, and nearly 6 billion of those gallons were potable.  Tenants in the industrial park can potentially obtain access to water from the ground and the Truckee River, as well. From early on, the master developers worked hard to secure permits to water sources, since they are nearly as precious as development entitlements to companies hoping to build projects in the desert. Initially, the development company controlled a private business, the TRI Water and Sewer Company, that provided those services to the business park’s tenants, according to public documents. The company set up wells, a water tank, distribution lines, and a sewer disposal system.  But in 2000, the board of county commissioners established a general improvement district, a legal mechanism for providing municipal services in certain parts of the state, to manage electricity and then water within the center. It, in turn, hired TRI Water and Sewer as the operating company. As of its 2020 service plan, the general improvement district held permits for nearly 5,300 acre-feet of groundwater, “which can be pumped from well fields within the service area and used for new growth as it occurs.” The document lists another 2,000 acre-feet per year available from the on-site treatment facility, 1,000 from the Truckee River, and 4,000 more from the effluent pipeline.  Those figures haven’t budged much since, according to Shari Whalen, general manager of the TRI General Improvement District. All told, they add up to more than 4 billion gallons of water per year for all the needs of the industrial park and the tenants there, data centers and otherwise. Whalen says that the amount and quality of water required for any given data center depends on its design, and that those matters are worked out on a case-by-case basis.  When asked if the general improvement district is confident that it has adequate water resources to supply the needs of all the data centers under development, as well as other tenants at the industrial center, she says: “They can’t just show up and build unless they have water resources designated for their projects. We wouldn’t approve a project if it didn’t have those water resources.” Water As the region’s water sources have grown more constrained, lining up supplies has become an increasingly high-stakes and controversial business. More than a century ago, the US federal government filed a lawsuit against an assortment of parties pulling water from the Truckee River. The suit would eventually establish that the Pyramid Lake Paiute Tribe’s legal rights to water for irrigation superseded other claims. But the tribe has been fighting to protect those rights and increase flows from the river ever since, arguing that increasing strains on the watershed from upstream cities and businesses threaten to draw away water reserved for reservation farming, decrease lake levels, and harm native fish. The Pyramid Lake Paiute Tribe considers the water body and its fish, including the endangered cui-ui and threatened Lahontan cutthroat trout, to be essential parts of its culture, identity, and way of life. The tribe was originally named Cui-ui Ticutta, which translates to cui-ui eaters. The lake continues to provide sustenance as well as business for the tribe and its members, a number of whom operate boat charters and fishing guide services. “It’s completely tied into us as a people,” says Steven Wadsworth, chairman of the Pyramid Lake Paiute Tribe. “That is what has sustained us all this time,” he adds. “It’s just who we are. It’s part of our spiritual well-being.” Steven Wadsworth, chairman of the Pyramid Lake Paiute Tribe, fears that data centers will divert water that would otherwise reach the tribe’s namesake lake.EMILY NAJERA In recent decades, the tribe has sued the Nevada State Engineer, Washoe County, the federal government, and others for overallocating water rights and endangering the lake’s fish. It also protested the TRI General Improvement District’s applications to draw thousands of additional acre‑feet of groundwater from a basin near the business park. In 2019, the State Engineer’s office rejected those requests, concluding that the basin was already fully appropriated.  More recently, the tribe took issue with the plan to build the pipeline and divert effluent that would have flown into the Truckee, securing an agreement that required the Truckee Meadows Water Authority and other parties to add back several thousand acre‑feet of water to the river.  Whalen says she’s sensitive to Wadsworth’s concerns. But she says that the pipeline promises to keep a growing amount of treated wastewater out of the river, where it could otherwise contribute to rising salt levels in the lake. “I think that the pipeline from [the Truckee Meadows Water Authority] to our system is good for water quality in the river,” she says. “I understand philosophically the concerns about data centers, but the general improvement district is dedicated to working with everyone on the river for regional water-resource planning—and the tribe is no exception.” Water efficiency  In an email, Thompson added that he has “great respect and admiration,” for the tribe and has visited the reservation several times in an effort to help bring industrial or commercial development there. He stressed that all of the business park’s groundwater was “validated by the State Water Engineer,” and that the rights to surface water and effluent were purchased “for fair market value.”During the earlier interview at the industrial center, he and Gilman had both expressed confidence that tenants in the park have adequate water supplies, and that the businesses won’t draw water away from other areas.  “We’re in our own aquifer, our own water basin here,” Thompson said. “You put a straw in the ground here, you’re not going to pull water from Fernley or from Reno or from Silver Springs.” Gilman also stressed that data-center companies have gotten more water efficient in recent years, echoing a point others made as well. “With the newer technology, it’s not much of a worry,” says Sutich, of the Northern Nevada Development Authority. “The technology has come a long way in the last 10 years, which is really giving these guys the opportunity to be good stewards of water usage.” An aerial view of the cooling tower fans at Google’s data center in the Tahoe Reno Industrial Center.GOOGLE Indeed, Google’s existing Storey County facility is air-cooled, according to the company’s latest environmental report. The data center withdrew 1.9 million gallons in 2023 but only consumed 200,000 gallons. The rest cycles back into the water system. Google said all the data centers under construction on its campus will also “utilize air-cooling technology.” The company didn’t respond to a question about the scale of its planned expansion in the Tahoe Reno Industrial Center, and referred a question about indirect water consumption to NV Energy. The search giant has stressed that it strives to be water efficient across all of its data centers, and decides whether to use air or liquid cooling based on local supply and projected demand, among other variables. Four years ago, the company set a goal of replenishing more water than it consumes by 2030. Locally, it also committed to provide half a million dollars to the National Forest Foundation to improve the Truckee River watershed and reduce wildfire risks.  Microsoft clearly suggested in earlier news reports that the Silver Springs land it purchased around the end of 2022 would be used for a data center. NAI Alliance’s market real estate report identifies that lot, as well as the parcel Microsoft purchased within the Tahoe Reno Industrial Center, as data center sites. But the company now declines to specify what it intends to build in the region.  “While the land purchase is public knowledge, we have not disclosed specific details [of] our plans for the land or potential development timelines,” wrote Donna Whitehead, a Microsoft spokesperson, in an email.  Workers have begun grading land inside a fenced off lot within the Tahoe Reno Industrial Center.EMILY NAJERA Microsoft has also scaled down its global data-center ambitions, backing away from several projects in recent months amid shifting economic conditions, according to various reports. Whatever it ultimately does or doesn’t build, the company stresses that it has made strides to reduce water consumption in its facilities. Late last year, the company announced that it’s using “chip-level cooling solutions” in data centers, which continually circulate water between the servers and chillers through a closed loop that the company claims doesn’t lose any water to evaporation. It says the design requires only a “nominal increase” in energy compared to its data centers that rely on evaporative water cooling. Others seem to be taking a similar approach. EdgeCore also said its 900,000-square-foot data center at the Tahoe Reno Industrial Center will rely on an “air-cooled closed-loop chiller” that doesn’t require water evaporation for cooling.  But some of the companies seem to have taken steps to ensure access to significant amounts of water. Switch, for instance, took a lead role in developing the effluent pipeline. In addition, Tract, which develops campuses on which third-party data centers can build their own facilities, has said it lined up more than 1,100 acre-feet of water rights, the equivalent of nearly 360 million gallons a year.  Apple, Novva, Switch, Tract, and Vantage didn’t respond to inquiries from MIT Technology Review.  Coming conflicts  The suggestion that companies aren’t straining water supplies when they adopt air cooling is, in many cases, akin to saying they’re not responsible for the greenhouse gas produced through their power use simply because it occurs outside of their facilities. In fact, the additional water used at a power plant to meet the increased electricity needs of air cooling may exceed any gains at the data center, Ren, of UC Riverside, says. “That’s actually very likely, because it uses a lot more energy,” he adds. That means that some of the companies developing data centers in and around Storey County may simply hand off their water challenges to other parts of Nevada or neighboring states across the drying American West, depending on where and how the power is generated, Ren says.  Google has said its air-cooled facilities require about 10% more electricity, and its environmental report notes that the Storey County facility is one of its two least-energy-efficient data centers.  Pipes running along Google’s data center campus help the search company cool its servers.GOOGLE Some fear there’s also a growing mismatch between what Nevada’s water permits allow, what’s actually in the ground, and what nature will provide as climate conditions shift. Notably, the groundwater committed to all parties from the Tracy Segment basin—a long-fought-over resource that partially supplies the TRI General Improvement District—already exceeds the “perennial yield.” That refers to the maximum amount that can be drawn out every year without depleting the reservoir over the long term. “If pumping does ultimately exceed the available supply, that means there will be conflict among users,” Roerink, of the Great Basin Water Network, said in an email. “So I have to wonder: Who could be suing whom? Who could be buying out whom? How will the tribe’s rights be defended?”The Truckee Meadows Water Authority, the community-owned utility that manages the water system for Reno and Sparks, said it is planning carefully for the future and remains confident there will be “sufficient resources for decades to come,” at least within its territory east of the industrial center. Storey County, the Truckee-Carson Irrigation District, and the State Engineer’s office didn’t respond to questions or accept interview requests.  Open for business As data center proposals have begun shifting into Northern Nevada’s cities, more local residents and organizations have begun to take notice and express concerns. The regional division of the Sierra Club, for instance, recently sought to overturn the approval of Reno’s first data center, about 20 miles west of the Tahoe Reno Industrial Center.  Olivia Tanager, director of the Sierra Club’s Toiyabe Chapter, says the environmental organization was shocked by the projected electricity demands from data centers highlighted in NV Energy’s filings. Nevada’s wild horses are a common sight along USA Parkway, the highway cutting through the industrial business park. EMILY NAJERA “We have increasing interest in understanding the impact that data centers will have to our climate goals, to our grid as a whole, and certainly to our water resources,” she says. “The demands are extraordinary, and we don’t have that amount of water to toy around with.” During a city hall hearing in January that stretched late into the evening, she and a line of residents raised concerns about the water, energy, climate, and employment impacts of AI data centers. At the end, though, the city council upheld the planning department’s approval of the project, on a 5-2 vote. “Welcome to Reno,” Kathleen Taylor, Reno’s vice mayor, said before casting her vote. “We’re open for business.” Where the river ends In late March, I walk alongside Chairman Wadsworth, of the Pyramid Lake Paiute Tribe, on the shores of Pyramid Lake, watching a row of fly-fishers in waders cast their lines into the cold waters.  The lake is the largest remnant of Lake Lahontan, an Ice Age inland sea that once stretched across western Nevada and would have submerged present-day Reno. But as the climate warmed, the lapping waters retreated, etching erosional terraces into the mountainsides and exposing tufa deposits around the lake, large formations of porous rock made of calcium-carbonate. That includes the pyramid-shaped island on the eastern shore that inspired the lake’s name. A lone angler stands along the shores of Pyramid Lake. In the decades after the US Reclamation Service completed the Derby Dam in 1905, Pyramid Lake declined another 80 feet and nearby Winnemucca Lake dried up entirely. “We know what happens when water use goes unchecked,” says Wadsworth, gesturing eastward toward the range across the lake, where Winnemucca once filled the next basin over. “Because all we have to do is look over there and see a dry, barren lake bed that used to be full.”In an earlier interview, Wadsworth acknowledged that the world needs data centers. But he argued they should be spread out across the country, not densely clustered in the middle of the Nevada desert.Given the fierce competition for resources up to now, he can’t imagine how there could be enough water to meet the demands of data centers, expanding cities, and other growing businesses without straining the limited local supplies that should, by his accounting, flow to Pyramid Lake. He fears these growing pressures will force the tribe to wage new legal battles to protect their rights and preserve the lake, extending what he refers to as “a century of water wars.” “We have seen the devastating effects of what happens when you mess with Mother Nature,” Wadsworth says. “Part of our spirit has left us. And that’s why we fight so hard to hold on to what’s left.”
    0 Комментарии 0 Поделились
  • The Last Of Us Season Two, Episode Six Recap: Days Of You And Me

    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 for Now, But Could Go Higher

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

    Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at for Now, But Could Go 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, 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 Joeland Tommyin 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.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 Druckmannand 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 Joeland Elliesettled in following season one. Joel’s putting his old smuggling skills to use to make deals with local bigot Seth. 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 Tommyand 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, 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, 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-meaningdad to TV viewers, he’s a well-meaningdad 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 Eugenespotted 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 Dinais 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, 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-faithresponses 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 revengebecause 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.
    #last #season #two #episode #six
    The Last Of Us Season Two, Episode Six Recap: Days Of You And Me
    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 for Now, But Could Go Higher Share SubtitlesOffEnglishSuggested ReadingNintendo Switch 2 Price Is Set at for Now, But Could Go Higher Share SubtitlesOffEnglishNintendo Switch 2 Price Is Set at for Now, But Could Go 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, 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 Joeland Tommyin 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.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 Druckmannand 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 Joeland Elliesettled in following season one. Joel’s putting his old smuggling skills to use to make deals with local bigot Seth. 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 Tommyand 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, 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, 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-meaningdad to TV viewers, he’s a well-meaningdad 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 Eugenespotted 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 Dinais 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, 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-faithresponses 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 revengebecause 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. #last #season #two #episode #six
    KOTAKU.COM
    The Last Of Us Season Two, Episode Six Recap: Days Of You And Me
    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.
    0 Комментарии 0 Поделились
  • Made with Unity Monthly: February 2023 roundup

    Curious how others are creating with Unity? Check out this roundup of the latest Made with Unity news and discover what the Unity community has been up to.#MadeWithUnity games reached some exciting milestones in February.To start, Intercept Games’ Kerbal Space Program 2 has been released in Early Access on Steam, if you’re looking for something out of this world. Ready to get your puzzle on? NAHUAL by Thirdworld Productions may be the quirky brainteaser you’ve been waiting for.Congratulations to all of the games that won an Academy of Interactive Arts & Sciences’ D.I.C.E. Award! As a follow up to last month’s finalists list, you can find the full list of winners in this IGN article. Esteemed Made with Unity winners include:TUNIC, Outstanding Achievement for an Independent GameMarvel SNAP, Mobile Game of the YearOlliOlli World, Sports Game of the YearWe share new releases or milestone spotlights every Monday on the @UnityGames Twitter account. Be sure to give us a follow and support your fellow creators.Tuesdays are dedicated to #UnityTips on Twitter. Here are a couple we found particularly helpful in February:@SunnyVStudio dropped some major grout for your tiles if you start to see screen tearing.@jamesebrill is on a roll with getting stones rolling – learn how to breathe life into 2D rolling stones.Keep tagging us using the #UnityTips hashtag.We're stunned by what you all create every week, and you certainly kept the amazing projects coming in February. If we missed something from you, be sure to use the #MadeWithUnity hashtag next time you share.Twitter’s @cptnsigh gave us all virtual whiplash with a strikingly smooth fast-paced FPS, and @canopy_studio healed our whiplash with a relaxing waterfall. Then, we snuck around with a bow and arrow and completed puzzles in @CatthiaGames’ Cynthia: Hidden in the Moonshadow. Finally, @PhillipWitz's adorable frog showed off its new skating skills.On Instagram, @papetura warmed our cups with a dose of fiery cuteness, and now we’re certainly ready for Spring thanks to @Studio_unjenesaisquoi, @umanimation1, and @focus_entmt. @Cornf_blue went super speed with some insane parkour and @JfvmYt was busy expanding their castle!We’re so excited for the #MadeWithUnity year ahead, so keep adding the hashtag to your posts to show us what you’ve been up to.Following the wrap of Global Game Jam 2023, we took to Twitch for a Let’s Play stream that saw members of our team play a selection of 10 games created during the event and solicited from the community.Later in the month, we sat down with Whales and Games to discuss Townseek in an all-new Creator Spotlight stream. Then, we released another Creator Spotlight clipon the use of timeline in As Dusk Falls. And finally, as a callback to the 2022 Let’s Dev 101 session on animation, we posted the full stream to YouTube.Don’t forget to follow us on Twitch and hit the notification bell so you never miss a stream.On February 23, we hosted our second Dev Blitz Day of the year, focusing on scripting. The event was held in both the forums and on the Discord server. Throughout the day, we had more than 100 threads and would like to thank everyone who participated.Keep an eye on our forum announcements and Discord for updates about future Dev Blitz Days.Just because you're a “one-person team” doesn’t mean you can’t call in extra help! Check out how Thomas Sala, creator of The Falconeer, was able to fill in skill gaps using assets from the Unity Asset Store. Assets were able to take the game to another level – from adding realism to gameplay to localizing in 13 different languages. Similarly, here are three more stories from studios that were able to save time and money by using assets.Taking to social media, here's a roundup of some of our favorite creator showcases from Twitter in February:Clay Outdoors Pack | Unicorn OneVolcano | NatureManufactureMegabook 2 | Chris WestLove/Hate | PixelcrushersDon’t forget to tag the @AssetStore Twitter account and use the #AssetStore hashtag when posting your latest creations.Last but not least, here’s a non-exhaustive list of Made with Unity titles released in February. Do you see any on the list that have already become favorites or notice that something is missing? Tell us about it in the forums.Birth, Madison KarrhThe end is nahual: If I may say so, Third World ProductionsPlayStation® VR2releases: Cities: VR – Enhanced Edition, Fast Travel GamesCosmonious High, Owlchemy LabsDemeo, Resolution GamesThe Last Clockwinder, PontocoThe Last Worker, Oiffy, Wolf & Wood Interactive LtdThe Light Brigade, Funktronic LabsSynth Riders, Kluge InteractiveThe Tale of Onogoro, Amata K.K.Tentacular, Firepunchd Games UGWHAT THE BAT?, TribandZenith: The Last City, Ramen VRSons Of The Forest, Endnight Games LtdClive ‘N’ Wrench, Dinosaur Bytes StudioKerbal Space Program 2, Intercept GamesPhantom Brigade, Brace Yourself GamesRytmos, Floppy ClubThat’s a wrap for February! Want more community news as it happens? Don’t forget to follow us on social media: Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch.
    #made #with #unity #monthly #february
    Made with Unity Monthly: February 2023 roundup
    Curious how others are creating with Unity? Check out this roundup of the latest Made with Unity news and discover what the Unity community has been up to.#MadeWithUnity games reached some exciting milestones in February.To start, Intercept Games’ Kerbal Space Program 2 has been released in Early Access on Steam, if you’re looking for something out of this world. Ready to get your puzzle on? NAHUAL by Thirdworld Productions may be the quirky brainteaser you’ve been waiting for.Congratulations to all of the games that won an Academy of Interactive Arts & Sciences’ D.I.C.E. Award! As a follow up to last month’s finalists list, you can find the full list of winners in this IGN article. Esteemed Made with Unity winners include:TUNIC, Outstanding Achievement for an Independent GameMarvel SNAP, Mobile Game of the YearOlliOlli World, Sports Game of the YearWe share new releases or milestone spotlights every Monday on the @UnityGames Twitter account. Be sure to give us a follow and support your fellow creators.Tuesdays are dedicated to #UnityTips on Twitter. Here are a couple we found particularly helpful in February:@SunnyVStudio dropped some major grout for your tiles if you start to see screen tearing.@jamesebrill is on a roll with getting stones rolling – learn how to breathe life into 2D rolling stones.Keep tagging us using the #UnityTips hashtag.We're stunned by what you all create every week, and you certainly kept the amazing projects coming in February. If we missed something from you, be sure to use the #MadeWithUnity hashtag next time you share.Twitter’s @cptnsigh gave us all virtual whiplash with a strikingly smooth fast-paced FPS, and @canopy_studio healed our whiplash with a relaxing waterfall. Then, we snuck around with a bow and arrow and completed puzzles in @CatthiaGames’ Cynthia: Hidden in the Moonshadow. Finally, @PhillipWitz's adorable frog showed off its new skating skills.On Instagram, @papetura warmed our cups with a dose of fiery cuteness, and now we’re certainly ready for Spring thanks to @Studio_unjenesaisquoi, @umanimation1, and @focus_entmt. @Cornf_blue went super speed with some insane parkour and @JfvmYt was busy expanding their castle!We’re so excited for the #MadeWithUnity year ahead, so keep adding the hashtag to your posts to show us what you’ve been up to.Following the wrap of Global Game Jam 2023, we took to Twitch for a Let’s Play stream that saw members of our team play a selection of 10 games created during the event and solicited from the community.Later in the month, we sat down with Whales and Games to discuss Townseek in an all-new Creator Spotlight stream. Then, we released another Creator Spotlight clipon the use of timeline in As Dusk Falls. And finally, as a callback to the 2022 Let’s Dev 101 session on animation, we posted the full stream to YouTube.Don’t forget to follow us on Twitch and hit the notification bell so you never miss a stream.On February 23, we hosted our second Dev Blitz Day of the year, focusing on scripting. The event was held in both the forums and on the Discord server. Throughout the day, we had more than 100 threads and would like to thank everyone who participated.Keep an eye on our forum announcements and Discord for updates about future Dev Blitz Days.Just because you're a “one-person team” doesn’t mean you can’t call in extra help! Check out how Thomas Sala, creator of The Falconeer, was able to fill in skill gaps using assets from the Unity Asset Store. Assets were able to take the game to another level – from adding realism to gameplay to localizing in 13 different languages. Similarly, here are three more stories from studios that were able to save time and money by using assets.Taking to social media, here's a roundup of some of our favorite creator showcases from Twitter in February:Clay Outdoors Pack | Unicorn OneVolcano | NatureManufactureMegabook 2 | Chris WestLove/Hate | PixelcrushersDon’t forget to tag the @AssetStore Twitter account and use the #AssetStore hashtag when posting your latest creations.Last but not least, here’s a non-exhaustive list of Made with Unity titles released in February. Do you see any on the list that have already become favorites or notice that something is missing? Tell us about it in the forums.Birth, Madison KarrhThe end is nahual: If I may say so, Third World ProductionsPlayStation® VR2releases: Cities: VR – Enhanced Edition, Fast Travel GamesCosmonious High, Owlchemy LabsDemeo, Resolution GamesThe Last Clockwinder, PontocoThe Last Worker, Oiffy, Wolf & Wood Interactive LtdThe Light Brigade, Funktronic LabsSynth Riders, Kluge InteractiveThe Tale of Onogoro, Amata K.K.Tentacular, Firepunchd Games UGWHAT THE BAT?, TribandZenith: The Last City, Ramen VRSons Of The Forest, Endnight Games LtdClive ‘N’ Wrench, Dinosaur Bytes StudioKerbal Space Program 2, Intercept GamesPhantom Brigade, Brace Yourself GamesRytmos, Floppy ClubThat’s a wrap for February! Want more community news as it happens? Don’t forget to follow us on social media: Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch. #made #with #unity #monthly #february
    UNITY.COM
    Made with Unity Monthly: February 2023 roundup
    Curious how others are creating with Unity? Check out this roundup of the latest Made with Unity news and discover what the Unity community has been up to.#MadeWithUnity games reached some exciting milestones in February.To start, Intercept Games’ Kerbal Space Program 2 has been released in Early Access on Steam, if you’re looking for something out of this world. Ready to get your puzzle on? NAHUAL by Thirdworld Productions may be the quirky brainteaser you’ve been waiting for.Congratulations to all of the games that won an Academy of Interactive Arts & Sciences’ D.I.C.E. Award! As a follow up to last month’s finalists list, you can find the full list of winners in this IGN article. Esteemed Made with Unity winners include:TUNIC, Outstanding Achievement for an Independent GameMarvel SNAP, Mobile Game of the YearOlliOlli World, Sports Game of the YearWe share new releases or milestone spotlights every Monday on the @UnityGames Twitter account. Be sure to give us a follow and support your fellow creators.Tuesdays are dedicated to #UnityTips on Twitter. Here are a couple we found particularly helpful in February:@SunnyVStudio dropped some major grout for your tiles if you start to see screen tearing.@jamesebrill is on a roll with getting stones rolling – learn how to breathe life into 2D rolling stones.Keep tagging us using the #UnityTips hashtag.We're stunned by what you all create every week, and you certainly kept the amazing projects coming in February. If we missed something from you, be sure to use the #MadeWithUnity hashtag next time you share.Twitter’s @cptnsigh gave us all virtual whiplash with a strikingly smooth fast-paced FPS, and @canopy_studio healed our whiplash with a relaxing waterfall. Then, we snuck around with a bow and arrow and completed puzzles in @CatthiaGames’ Cynthia: Hidden in the Moonshadow. Finally, @PhillipWitz's adorable frog showed off its new skating skills.On Instagram, @papetura warmed our cups with a dose of fiery cuteness, and now we’re certainly ready for Spring thanks to @Studio_unjenesaisquoi, @umanimation1, and @focus_entmt. @Cornf_blue went super speed with some insane parkour and @JfvmYt was busy expanding their castle!We’re so excited for the #MadeWithUnity year ahead (and GDC 2023 later this month), so keep adding the hashtag to your posts to show us what you’ve been up to.Following the wrap of Global Game Jam 2023, we took to Twitch for a Let’s Play stream that saw members of our team play a selection of 10 games created during the event and solicited from the community.Later in the month, we sat down with Whales and Games to discuss Townseek in an all-new Creator Spotlight stream. Then, we released another Creator Spotlight clip (above) on the use of timeline in As Dusk Falls. And finally, as a callback to the 2022 Let’s Dev 101 session on animation, we posted the full stream to YouTube.Don’t forget to follow us on Twitch and hit the notification bell so you never miss a stream.On February 23, we hosted our second Dev Blitz Day of the year, focusing on scripting. The event was held in both the forums and on the Discord server. Throughout the day, we had more than 100 threads and would like to thank everyone who participated.Keep an eye on our forum announcements and Discord for updates about future Dev Blitz Days.Just because you're a “one-person team” doesn’t mean you can’t call in extra help! Check out how Thomas Sala, creator of The Falconeer, was able to fill in skill gaps using assets from the Unity Asset Store. Assets were able to take the game to another level – from adding realism to gameplay to localizing in 13 different languages. Similarly, here are three more stories from studios that were able to save time and money by using assets.Taking to social media, here's a roundup of some of our favorite creator showcases from Twitter in February:Clay Outdoors Pack | Unicorn OneVolcano | NatureManufactureMegabook 2 | Chris WestLove/Hate | PixelcrushersDon’t forget to tag the @AssetStore Twitter account and use the #AssetStore hashtag when posting your latest creations.Last but not least, here’s a non-exhaustive list of Made with Unity titles released in February. Do you see any on the list that have already become favorites or notice that something is missing? Tell us about it in the forums.Birth, Madison Karrh (February 17)The end is nahual: If I may say so, Third World Productions (February 17)PlayStation® VR2 (PS VR2) releases (February 22): Cities: VR – Enhanced Edition, Fast Travel GamesCosmonious High, Owlchemy LabsDemeo, Resolution GamesThe Last Clockwinder, PontocoThe Last Worker, Oiffy, Wolf & Wood Interactive LtdThe Light Brigade, Funktronic LabsSynth Riders, Kluge InteractiveThe Tale of Onogoro, Amata K.K.Tentacular, Firepunchd Games UGWHAT THE BAT?, TribandZenith: The Last City, Ramen VRSons Of The Forest, Endnight Games Ltd (February 23)Clive ‘N’ Wrench, Dinosaur Bytes Studio (February 23)Kerbal Space Program 2, Intercept Games (February 24)Phantom Brigade, Brace Yourself Games (February 28)Rytmos, Floppy Club (February 28)That’s a wrap for February! Want more community news as it happens? Don’t forget to follow us on social media: Twitter, Facebook, LinkedIn, Instagram, YouTube, or Twitch.
    0 Комментарии 0 Поделились
  • Duster Review: Josh Holloway and J.J. Abrams Reunite for ’70s Thriller

    This Duster review contains no spoilers.
    Would you look at that? Actor Josh Holloway and creator J.J. Abrams have reunited for the first time since Lost crash-landed onto ABC 20 years ago. I have slight memories of the series — I was more of a Heroes watcher — but never felt inclined to revisit. Nonetheless, I can understand the joy in seeing them collaborate on a new project after all these years. But this time, they’re trading vehicles and genres. Abrams and LaToya Morgan’s Max period crime thriller series, Duster, in which Holloway portrays a getaway driver tapped to be a mole by the FBI, bears a pulpy and cartoonish exterior, though its constant tonal whiplash prevents its engine from roaring as loud as it should.
    Jim Ellisis the quintessential getaway driver men don’t want to mess with and women want to be with. He’s a cool, alluring, charming dude whose business varies between wheelman, courier, and blackmailer. Most of his jobs are for his crime lord boss, Ezra Saxton, who has the Southwest crime strip on lock and whom he’s loyal to thanks to the friendship his dad Wadeshared with him. Whenever he’s not under Saxton’s thumb, he’s a supportive uncle to his fellow courier driver ex-girlfriend Izzy’sdaughter Luna. Although Jim leads a low-key lifestyle, it’s evident that he is going through a transition brought on by the unresolved death of his beloved brother, Joey who was also a wheelman in the past and died in an explosion. 

    Enter the driven and hard-working Nina Hayes, who makes it into the FBI as the first Black woman agent. Because it’s the ‘70s, all the white males within her unit, whether it be her peers or superiors, do their best to belittle her. The sole person she establishes a friendship with is Awan, a comic book-loving Navajo nation-based agent who is assigned as her partner. 

    Hayes and Ellis’ worlds collide, and she propositions him to be her mole for the FBI to take down Saxton and his entire crime syndicate. Unknown to her FBI allies, Hayes has additional motivations for wanting to bring Saxton down. Jim’s loyalty to his boss is frequently put to the test during the season’s perilous assignments, causing him to question his loyalty to Saxton. Hayes faces the same moral compass challenge as she is compelled to work outside the law and actively pursue information. 
    Despite the serialization of the plot, Duster bears a high-spirited eccentricity that works in its favor for most of the series. At least on Jim Ellis’ part, where it adopts the “mission of the week” episodic format. Every episode follows Jim going job to job for Saxton, which results in him either facing off against assassins or crime lords straight out of an ‘80s animation. Jim’s quests get unabashedly cartoonish to the extent that one episode features a stunningly animated dream sequence where Jim envisions himself in a Looney Tunes cartoon. When he’s not fighting in his orange Plymouth Duster, Jim’s wheelman missions involve him interacting with icons of 1970s pop culture, such as Colonel Tom Parker and Adrienne Barbeau.
    Abrams and Morgan’s use of campy worldbuilding is largely attributable to the charismatic supporting actors who confidently embellish their roles, as opposed to the straight-laced nature of the two leads. Jim’s smooth persona, in particular, bounces off quirky characters, resulting in strong comedic moments. Some of my favorite scenes are when Jim fights with his stepmother Charlotte, who despises him to no end even though they both have a close bond with Wade the patriarch.
    Duster‘s heart simply lies in how Jim and Nina navigate this kooky, crime world and their reliance on each other to thrive in their paths. Holloway’s smooth wit and personable bravado contribute to the show’s welcoming gravitas. Hilson on her part excels with a tough, self-assured backbone that adds so much charm to the conventional cop-criminal dynamic she and Holloway share. 
    It’s clear that Duster is a different engine from Lost, but Holloway hasn’t lost his star touch. The series thrives on being brainless, fast-food TV that is often wildly entertaining, accompanied by stylish and cool action sequences. Whether it be combat or car chase sequences with adrenaline-inducing practical crashes, it feels like a remnant of pulpy action thrillers with an adult edge not often around in modern television. Much of that credit is attributed to director Steph Green, who keeps the energy buoyed throughout each episode despite elements of the overarching investigation Nina and Awan feeling like a chore to get through. 
    Some episodes have trouble keeping a consistent tone. Mostly when it tries to make timely social commentary about workplace diversity, racial identity, and equality, especially within Nina and Izzy’s subplot. It’s a good attempt, if not absolutely necessary, especially since many studios are cutting back on diverse content in a Trump 2.0 administration. But it all contradicts the ridiculous scenes that follow, like Jim facing an assassin whose shtick is throwing projectile blades or a ceiling fan landing on a racist patron’s crotch.

    Duster is an all-around enjoyable and engaging historical thriller, supported by a warm, campy energy and wit, incredible action scenes, and strong performances from Josh Holloway and Rachel Hilson.

    Join our mailing list
    Get the best of Den of Geek delivered right to your inbox!

    The first episode of Duster premieres Thursday, May 15 at 9 p.m. ET on Max. New episodes debut Thursdays at the same time, culminating with the finale on July 3.
    #duster #review #josh #holloway #abrams
    Duster Review: Josh Holloway and J.J. Abrams Reunite for ’70s Thriller
    This Duster review contains no spoilers. Would you look at that? Actor Josh Holloway and creator J.J. Abrams have reunited for the first time since Lost crash-landed onto ABC 20 years ago. I have slight memories of the series — I was more of a Heroes watcher — but never felt inclined to revisit. Nonetheless, I can understand the joy in seeing them collaborate on a new project after all these years. But this time, they’re trading vehicles and genres. Abrams and LaToya Morgan’s Max period crime thriller series, Duster, in which Holloway portrays a getaway driver tapped to be a mole by the FBI, bears a pulpy and cartoonish exterior, though its constant tonal whiplash prevents its engine from roaring as loud as it should. Jim Ellisis the quintessential getaway driver men don’t want to mess with and women want to be with. He’s a cool, alluring, charming dude whose business varies between wheelman, courier, and blackmailer. Most of his jobs are for his crime lord boss, Ezra Saxton, who has the Southwest crime strip on lock and whom he’s loyal to thanks to the friendship his dad Wadeshared with him. Whenever he’s not under Saxton’s thumb, he’s a supportive uncle to his fellow courier driver ex-girlfriend Izzy’sdaughter Luna. Although Jim leads a low-key lifestyle, it’s evident that he is going through a transition brought on by the unresolved death of his beloved brother, Joey who was also a wheelman in the past and died in an explosion.  Enter the driven and hard-working Nina Hayes, who makes it into the FBI as the first Black woman agent. Because it’s the ‘70s, all the white males within her unit, whether it be her peers or superiors, do their best to belittle her. The sole person she establishes a friendship with is Awan, a comic book-loving Navajo nation-based agent who is assigned as her partner.  Hayes and Ellis’ worlds collide, and she propositions him to be her mole for the FBI to take down Saxton and his entire crime syndicate. Unknown to her FBI allies, Hayes has additional motivations for wanting to bring Saxton down. Jim’s loyalty to his boss is frequently put to the test during the season’s perilous assignments, causing him to question his loyalty to Saxton. Hayes faces the same moral compass challenge as she is compelled to work outside the law and actively pursue information.  Despite the serialization of the plot, Duster bears a high-spirited eccentricity that works in its favor for most of the series. At least on Jim Ellis’ part, where it adopts the “mission of the week” episodic format. Every episode follows Jim going job to job for Saxton, which results in him either facing off against assassins or crime lords straight out of an ‘80s animation. Jim’s quests get unabashedly cartoonish to the extent that one episode features a stunningly animated dream sequence where Jim envisions himself in a Looney Tunes cartoon. When he’s not fighting in his orange Plymouth Duster, Jim’s wheelman missions involve him interacting with icons of 1970s pop culture, such as Colonel Tom Parker and Adrienne Barbeau. Abrams and Morgan’s use of campy worldbuilding is largely attributable to the charismatic supporting actors who confidently embellish their roles, as opposed to the straight-laced nature of the two leads. Jim’s smooth persona, in particular, bounces off quirky characters, resulting in strong comedic moments. Some of my favorite scenes are when Jim fights with his stepmother Charlotte, who despises him to no end even though they both have a close bond with Wade the patriarch. Duster‘s heart simply lies in how Jim and Nina navigate this kooky, crime world and their reliance on each other to thrive in their paths. Holloway’s smooth wit and personable bravado contribute to the show’s welcoming gravitas. Hilson on her part excels with a tough, self-assured backbone that adds so much charm to the conventional cop-criminal dynamic she and Holloway share.  It’s clear that Duster is a different engine from Lost, but Holloway hasn’t lost his star touch. The series thrives on being brainless, fast-food TV that is often wildly entertaining, accompanied by stylish and cool action sequences. Whether it be combat or car chase sequences with adrenaline-inducing practical crashes, it feels like a remnant of pulpy action thrillers with an adult edge not often around in modern television. Much of that credit is attributed to director Steph Green, who keeps the energy buoyed throughout each episode despite elements of the overarching investigation Nina and Awan feeling like a chore to get through.  Some episodes have trouble keeping a consistent tone. Mostly when it tries to make timely social commentary about workplace diversity, racial identity, and equality, especially within Nina and Izzy’s subplot. It’s a good attempt, if not absolutely necessary, especially since many studios are cutting back on diverse content in a Trump 2.0 administration. But it all contradicts the ridiculous scenes that follow, like Jim facing an assassin whose shtick is throwing projectile blades or a ceiling fan landing on a racist patron’s crotch. Duster is an all-around enjoyable and engaging historical thriller, supported by a warm, campy energy and wit, incredible action scenes, and strong performances from Josh Holloway and Rachel Hilson. Join our mailing list Get the best of Den of Geek delivered right to your inbox! The first episode of Duster premieres Thursday, May 15 at 9 p.m. ET on Max. New episodes debut Thursdays at the same time, culminating with the finale on July 3. #duster #review #josh #holloway #abrams
    WWW.DENOFGEEK.COM
    Duster Review: Josh Holloway and J.J. Abrams Reunite for ’70s Thriller
    This Duster review contains no spoilers. Would you look at that? Actor Josh Holloway and creator J.J. Abrams have reunited for the first time since Lost crash-landed onto ABC 20 years ago. I have slight memories of the series — I was more of a Heroes watcher — but never felt inclined to revisit. Nonetheless, I can understand the joy in seeing them collaborate on a new project after all these years. But this time, they’re trading vehicles and genres. Abrams and LaToya Morgan’s Max period crime thriller series, Duster, in which Holloway portrays a getaway driver tapped to be a mole by the FBI, bears a pulpy and cartoonish exterior, though its constant tonal whiplash prevents its engine from roaring as loud as it should. Jim Ellis (Holloway) is the quintessential getaway driver men don’t want to mess with and women want to be with. He’s a cool, alluring, charming dude whose business varies between wheelman, courier, and blackmailer. Most of his jobs are for his crime lord boss, Ezra Saxton (Keith David), who has the Southwest crime strip on lock and whom he’s loyal to thanks to the friendship his dad Wade (Corbin Bernsen) shared with him. Whenever he’s not under Saxton’s thumb, he’s a supportive uncle to his fellow courier driver ex-girlfriend Izzy’s (Camille Guaty) daughter Luna (Adriana Aluna Martinez). Although Jim leads a low-key lifestyle, it’s evident that he is going through a transition brought on by the unresolved death of his beloved brother, Joey who was also a wheelman in the past and died in an explosion.  Enter the driven and hard-working Nina Hayes (Rachel Hilson), who makes it into the FBI as the first Black woman agent. Because it’s the ‘70s, all the white males within her unit, whether it be her peers or superiors, do their best to belittle her. The sole person she establishes a friendship with is Awan (Asivak Koostachin), a comic book-loving Navajo nation-based agent who is assigned as her partner.  Hayes and Ellis’ worlds collide, and she propositions him to be her mole for the FBI to take down Saxton and his entire crime syndicate. Unknown to her FBI allies, Hayes has additional motivations for wanting to bring Saxton down. Jim’s loyalty to his boss is frequently put to the test during the season’s perilous assignments, causing him to question his loyalty to Saxton. Hayes faces the same moral compass challenge as she is compelled to work outside the law and actively pursue information.  Despite the serialization of the plot, Duster bears a high-spirited eccentricity that works in its favor for most of the series. At least on Jim Ellis’ part, where it adopts the “mission of the week” episodic format. Every episode follows Jim going job to job for Saxton, which results in him either facing off against assassins or crime lords straight out of an ‘80s animation. Jim’s quests get unabashedly cartoonish to the extent that one episode features a stunningly animated dream sequence where Jim envisions himself in a Looney Tunes cartoon. When he’s not fighting in his orange Plymouth Duster, Jim’s wheelman missions involve him interacting with icons of 1970s pop culture, such as Colonel Tom Parker and Adrienne Barbeau. Abrams and Morgan’s use of campy worldbuilding is largely attributable to the charismatic supporting actors who confidently embellish their roles, as opposed to the straight-laced nature of the two leads. Jim’s smooth persona, in particular, bounces off quirky characters, resulting in strong comedic moments. Some of my favorite scenes are when Jim fights with his stepmother Charlotte (Gail O’ Grady), who despises him to no end even though they both have a close bond with Wade the patriarch. Duster‘s heart simply lies in how Jim and Nina navigate this kooky, crime world and their reliance on each other to thrive in their paths. Holloway’s smooth wit and personable bravado contribute to the show’s welcoming gravitas. Hilson on her part excels with a tough, self-assured backbone that adds so much charm to the conventional cop-criminal dynamic she and Holloway share.  It’s clear that Duster is a different engine from Lost, but Holloway hasn’t lost his star touch. The series thrives on being brainless, fast-food TV that is often wildly entertaining, accompanied by stylish and cool action sequences. Whether it be combat or car chase sequences with adrenaline-inducing practical crashes, it feels like a remnant of pulpy action thrillers with an adult edge not often around in modern television. Much of that credit is attributed to director Steph Green, who keeps the energy buoyed throughout each episode despite elements of the overarching investigation Nina and Awan feeling like a chore to get through.  Some episodes have trouble keeping a consistent tone. Mostly when it tries to make timely social commentary about workplace diversity, racial identity, and equality, especially within Nina and Izzy’s subplot. It’s a good attempt, if not absolutely necessary, especially since many studios are cutting back on diverse content in a Trump 2.0 administration. But it all contradicts the ridiculous scenes that follow, like Jim facing an assassin whose shtick is throwing projectile blades or a ceiling fan landing on a racist patron’s crotch. Duster is an all-around enjoyable and engaging historical thriller, supported by a warm, campy energy and wit, incredible action scenes, and strong performances from Josh Holloway and Rachel Hilson. Join our mailing list Get the best of Den of Geek delivered right to your inbox! The first episode of Duster premieres Thursday, May 15 at 9 p.m. ET on Max. New episodes debut Thursdays at the same time, culminating with the finale on July 3.
    0 Комментарии 0 Поделились
  • Iron Man 2: The Sequel That Set The Template For Many MCU Mistakes

    Iron Man was a resounding success when it opened in 2008, earning more than half a billion dollars and declaring in no uncertain terms that Marvel Studios—and the Marvel Cinematic Universe, as it later came to be known—had arrived. Although Marvel was also developing movies about Thor, Captain America, and Ant-Man at the time, Iron Man 2 was pushed to the front of the line and set for release in May 2010, just two years after the first film. The idea was to cash in on the surprise success of Iron Man and give the other movies a little more time to breathe and develop, with the ultimate goal of teaming all the characters up in The Avengers.
    But perhaps due to its rushed production schedule, studio growing pains, and the need to lay down breadcrumbs for the stories to come, Iron Man 2 was a shaky affair when it eventually came out. Not that this hurt its box office potential. It grossed more than the first film. Still, it did not escape the notice of critics and hardcore fans, resulting in a film that still regularly lands near the bottom of MCU movie rankings. Strangely, however, Marvel Studios has repeated many of the same mistakes it made on Iron Man 2 in later films while also taking some of the wrong lessons from the troubled production of the MCU’s first sequel.

    A Rushed Development
    With Iron Man 2 announced days after the release of Iron Man, Marvel had to scramble to come up with a story and lock down its principal players. Robert Downey Jr., of course, was signed to reprise the role of Tony Stark at a much higher salary. Gwyneth Paltrow was also confirmed to return, as was director Jon Favreau. Also returning were Samuel L. Jackson and Clark Gregg as Nick Fury and Agent Phil Coulson, respectively, expanding the presence of S.H.I.E.L.D. that was briefly established in the first film.
    Downey and Favreau tapped writer/actor Justin Theroux to pen the screenplay, which would introduce villains Justin Hammer and Whiplashinto the story after comic book arch-nemesis The Mandarin was nixed as both too fantastical and potentially racist. Also slated to make her debut in the movie: Black Widow, a nod to the impending creation of the Avengers but one of the many elements of a movie that was potentially piling up too many plot threads.

    Although initial reports suggested that at least part of the film would adapt the famous “Demon in a Bottle” storyline, in which Tony Stark becomes a full-blown alcoholic, that aspect of the narrative was toned down due to concerns over toy sales and younger viewers’ perception of Iron Man. The movie reportedly began filming without a finished script, something that would hamper future Marvel movies and lead the studio to make reshoots a permanent part of every film’s production schedule. This necessitated Theroux having to do daily rewrites on the set with Favreau and Downey, with the latter’s ad-libbing and improvisatory style of acting further muddying what was already a confusing and tonally uneven plot.
    New Faces, New Problems
    As mentioned, Downey, Paltrow, Favreau, Gregg, and Jacksonall returned to their roles in Iron Man 2, but Terence Howard, who co-starred in Iron Man as Tony Stark’s best friend, Col. James “Rhodey” Rhodes, did not. Depending on who you ask, Howard was either too difficult or too expensive—or both—to keep around for the sequel. He was replaced by Don Cheadle, who’s played Rhodeyever since.
    Ironically Marvel should have learned from this and the recasting of Bruce Bannerthat it was okay to recast a major role once in a while. But the biggest mistake Marvel made in this regard was arguably announcing that T’Challa/Black Panther would not be recast after the tragic death of Chadwick Boseman, which left the MCU without one of its most potentially important superheroes.
    Still, the casting of Iron Man 2’s villains, Justin Hammer and Ivan Vanko/Whiplash, set some precedents that would later haunt the MCU in a different way. Hammer was played by Sam Rockwelland acquitted himself well, but his role was in some ways superfluous to a story already packed with new characters and themes and his function in the movie was not always clear.
    But it was Mickey Rourke being courted to play Whiplash that perhaps caused the most angst. With Rourke coming in hot off his Oscar-nominated, Golden Globe-winning comeback performance in The Wrestler, Marvel wanted to seize a prestige casting coup—a move similar to its hiring of recent Oscar winner Brie Larson years later to play Captain Marvel. It could be argued that neither Rourke nor Larson was ultimately the right fit for their roles, but luring award winners to a comic book universe was too tempting for Marvel to pass up. In retrospect, they might have even dodged a bullet when Joaquin Phoenix passed on playing Doctor Strange given the actor’s reportedly mercurial methods.
    Rourke allegedly made bizarre demands to Marvel on Iron Man 2. This included that Vanko have a pet bird and wear his hair in a bun. He also reportedly clashed with Favreau during filming. Later he would say publicly he was unhappy with the final product, claiming that a lot of his performance was left on the cutting room floor. Whiplash in the finished film is certainly a strange character and the first of many undercooked Marvel villains to come. But that didn’t stop the studio from pursuing other actors and filmmakers basking in the glow of a high-profile awards run.

    Too Much of Everything
    Whereas the first Iron Man was a sleek, crisply told origin story, Iron Man 2 was, narratively speaking, a mess. The film dealt with Tony Stark’s inability to reconcile his personal identity with his new public persona as Iron Man, his lingering issues with his father, Howard Stark, his burgeoning drinking problem, and his discovery that the core element in his arc reactor was slowly poisoning him.

    Join our mailing list
    Get the best of Den of Geek delivered right to your inbox!

    And that was just Tony; the rest of the film introduced Black Widow and the beginnings of the Avengers, put Rhodey in his War Machine armor for the first time, expanded the role of Nick Fury and S.H.I.E.L.D., set out easter eggs for Thor and Captain America, and tried to balance the roles of two villains whose motivations and tones were not at all well-defined or complementary. It was, in short, a hodgepodge of ideas, plot points, and hints at future movies that all but dragged itself over the finish line without a coherent structure—a problem that would crop up again in the MCU.
    The franchise’s obsession with world-building at the expense of focus and logic reared its head in Avengers: Age of Ultron, which brought four new characters into an already crowded ensemblewhile also planting seeds about Asgard, Wakanda, and the Infinity Stones. Even the underrated Black Panther: Wakanda Forever, released years later, acted partly as a commercial for the still-unaired Ironheart TV series.
    Part of the charm of the Marvel Cinematic Universe, of course, is watching out for those many easter eggs, post-credit scenes, and surprise cameos that remind us that it is indeed a universe, one that’s constantly evolving and expanding. But some of those universe-building elements have worked better than others over the years, and with Iron Man 2, it felt like sensory overload—not that that stopped Marvel from doing it again and again in the years since.
    Iron Man 2: The Gift That Keeps on Giving?
    Iron Man 2 was an even bigger success at the box officethat its predecessor, but it also cost moreand was less enthusiastically received by critics. It was a troubled, patchwork project from the start, but even as Marvel Studios went on to hit heights of success no one could have possibly imagined for a filmed comic book universe, the studio continually made the same mistakes that dogged the production of Iron Man 2 and kept it from being the sequel it could have been.
    In some cases those mistakes may have temporarily dinged the brand, but in the long run, their impact has not done permanent damage to the MCU or the vast majority of its output. Still, with the last few years being particularly rocky ones for the MCU in terms of quality and coherence, it might not hurt Kevin Feige and company to fire up Iron Man 2 once in a while and remember it as a cautionary tale of what not to do.
    #iron #man #sequel #that #set
    Iron Man 2: The Sequel That Set The Template For Many MCU Mistakes
    Iron Man was a resounding success when it opened in 2008, earning more than half a billion dollars and declaring in no uncertain terms that Marvel Studios—and the Marvel Cinematic Universe, as it later came to be known—had arrived. Although Marvel was also developing movies about Thor, Captain America, and Ant-Man at the time, Iron Man 2 was pushed to the front of the line and set for release in May 2010, just two years after the first film. The idea was to cash in on the surprise success of Iron Man and give the other movies a little more time to breathe and develop, with the ultimate goal of teaming all the characters up in The Avengers. But perhaps due to its rushed production schedule, studio growing pains, and the need to lay down breadcrumbs for the stories to come, Iron Man 2 was a shaky affair when it eventually came out. Not that this hurt its box office potential. It grossed more than the first film. Still, it did not escape the notice of critics and hardcore fans, resulting in a film that still regularly lands near the bottom of MCU movie rankings. Strangely, however, Marvel Studios has repeated many of the same mistakes it made on Iron Man 2 in later films while also taking some of the wrong lessons from the troubled production of the MCU’s first sequel. A Rushed Development With Iron Man 2 announced days after the release of Iron Man, Marvel had to scramble to come up with a story and lock down its principal players. Robert Downey Jr., of course, was signed to reprise the role of Tony Stark at a much higher salary. Gwyneth Paltrow was also confirmed to return, as was director Jon Favreau. Also returning were Samuel L. Jackson and Clark Gregg as Nick Fury and Agent Phil Coulson, respectively, expanding the presence of S.H.I.E.L.D. that was briefly established in the first film. Downey and Favreau tapped writer/actor Justin Theroux to pen the screenplay, which would introduce villains Justin Hammer and Whiplashinto the story after comic book arch-nemesis The Mandarin was nixed as both too fantastical and potentially racist. Also slated to make her debut in the movie: Black Widow, a nod to the impending creation of the Avengers but one of the many elements of a movie that was potentially piling up too many plot threads. Although initial reports suggested that at least part of the film would adapt the famous “Demon in a Bottle” storyline, in which Tony Stark becomes a full-blown alcoholic, that aspect of the narrative was toned down due to concerns over toy sales and younger viewers’ perception of Iron Man. The movie reportedly began filming without a finished script, something that would hamper future Marvel movies and lead the studio to make reshoots a permanent part of every film’s production schedule. This necessitated Theroux having to do daily rewrites on the set with Favreau and Downey, with the latter’s ad-libbing and improvisatory style of acting further muddying what was already a confusing and tonally uneven plot. New Faces, New Problems As mentioned, Downey, Paltrow, Favreau, Gregg, and Jacksonall returned to their roles in Iron Man 2, but Terence Howard, who co-starred in Iron Man as Tony Stark’s best friend, Col. James “Rhodey” Rhodes, did not. Depending on who you ask, Howard was either too difficult or too expensive—or both—to keep around for the sequel. He was replaced by Don Cheadle, who’s played Rhodeyever since. Ironically Marvel should have learned from this and the recasting of Bruce Bannerthat it was okay to recast a major role once in a while. But the biggest mistake Marvel made in this regard was arguably announcing that T’Challa/Black Panther would not be recast after the tragic death of Chadwick Boseman, which left the MCU without one of its most potentially important superheroes. Still, the casting of Iron Man 2’s villains, Justin Hammer and Ivan Vanko/Whiplash, set some precedents that would later haunt the MCU in a different way. Hammer was played by Sam Rockwelland acquitted himself well, but his role was in some ways superfluous to a story already packed with new characters and themes and his function in the movie was not always clear. But it was Mickey Rourke being courted to play Whiplash that perhaps caused the most angst. With Rourke coming in hot off his Oscar-nominated, Golden Globe-winning comeback performance in The Wrestler, Marvel wanted to seize a prestige casting coup—a move similar to its hiring of recent Oscar winner Brie Larson years later to play Captain Marvel. It could be argued that neither Rourke nor Larson was ultimately the right fit for their roles, but luring award winners to a comic book universe was too tempting for Marvel to pass up. In retrospect, they might have even dodged a bullet when Joaquin Phoenix passed on playing Doctor Strange given the actor’s reportedly mercurial methods. Rourke allegedly made bizarre demands to Marvel on Iron Man 2. This included that Vanko have a pet bird and wear his hair in a bun. He also reportedly clashed with Favreau during filming. Later he would say publicly he was unhappy with the final product, claiming that a lot of his performance was left on the cutting room floor. Whiplash in the finished film is certainly a strange character and the first of many undercooked Marvel villains to come. But that didn’t stop the studio from pursuing other actors and filmmakers basking in the glow of a high-profile awards run. Too Much of Everything Whereas the first Iron Man was a sleek, crisply told origin story, Iron Man 2 was, narratively speaking, a mess. The film dealt with Tony Stark’s inability to reconcile his personal identity with his new public persona as Iron Man, his lingering issues with his father, Howard Stark, his burgeoning drinking problem, and his discovery that the core element in his arc reactor was slowly poisoning him. Join our mailing list Get the best of Den of Geek delivered right to your inbox! And that was just Tony; the rest of the film introduced Black Widow and the beginnings of the Avengers, put Rhodey in his War Machine armor for the first time, expanded the role of Nick Fury and S.H.I.E.L.D., set out easter eggs for Thor and Captain America, and tried to balance the roles of two villains whose motivations and tones were not at all well-defined or complementary. It was, in short, a hodgepodge of ideas, plot points, and hints at future movies that all but dragged itself over the finish line without a coherent structure—a problem that would crop up again in the MCU. The franchise’s obsession with world-building at the expense of focus and logic reared its head in Avengers: Age of Ultron, which brought four new characters into an already crowded ensemblewhile also planting seeds about Asgard, Wakanda, and the Infinity Stones. Even the underrated Black Panther: Wakanda Forever, released years later, acted partly as a commercial for the still-unaired Ironheart TV series. Part of the charm of the Marvel Cinematic Universe, of course, is watching out for those many easter eggs, post-credit scenes, and surprise cameos that remind us that it is indeed a universe, one that’s constantly evolving and expanding. But some of those universe-building elements have worked better than others over the years, and with Iron Man 2, it felt like sensory overload—not that that stopped Marvel from doing it again and again in the years since. Iron Man 2: The Gift That Keeps on Giving? Iron Man 2 was an even bigger success at the box officethat its predecessor, but it also cost moreand was less enthusiastically received by critics. It was a troubled, patchwork project from the start, but even as Marvel Studios went on to hit heights of success no one could have possibly imagined for a filmed comic book universe, the studio continually made the same mistakes that dogged the production of Iron Man 2 and kept it from being the sequel it could have been. In some cases those mistakes may have temporarily dinged the brand, but in the long run, their impact has not done permanent damage to the MCU or the vast majority of its output. Still, with the last few years being particularly rocky ones for the MCU in terms of quality and coherence, it might not hurt Kevin Feige and company to fire up Iron Man 2 once in a while and remember it as a cautionary tale of what not to do. #iron #man #sequel #that #set
    WWW.DENOFGEEK.COM
    Iron Man 2: The Sequel That Set The Template For Many MCU Mistakes
    Iron Man was a resounding success when it opened in 2008, earning more than half a billion dollars and declaring in no uncertain terms that Marvel Studios—and the Marvel Cinematic Universe, as it later came to be known—had arrived. Although Marvel was also developing movies about Thor, Captain America, and Ant-Man at the time, Iron Man 2 was pushed to the front of the line and set for release in May 2010, just two years after the first film. The idea was to cash in on the surprise success of Iron Man and give the other movies a little more time to breathe and develop, with the ultimate goal of teaming all the characters up in The Avengers. But perhaps due to its rushed production schedule, studio growing pains, and the need to lay down breadcrumbs for the stories to come, Iron Man 2 was a shaky affair when it eventually came out. Not that this hurt its box office potential. It grossed more than the first film. Still, it did not escape the notice of critics and hardcore fans, resulting in a film that still regularly lands near the bottom of MCU movie rankings. Strangely, however, Marvel Studios has repeated many of the same mistakes it made on Iron Man 2 in later films while also taking some of the wrong lessons from the troubled production of the MCU’s first sequel. A Rushed Development With Iron Man 2 announced days after the release of Iron Man (even before the relative failure of The Incredible Hulk that same year), Marvel had to scramble to come up with a story and lock down its principal players. Robert Downey Jr., of course, was signed to reprise the role of Tony Stark at a much higher salary. Gwyneth Paltrow was also confirmed to return, as was director Jon Favreau (who would also once again play Stark security chief Happy Hogan). Also returning were Samuel L. Jackson and Clark Gregg as Nick Fury and Agent Phil Coulson, respectively, expanding the presence of S.H.I.E.L.D. that was briefly established in the first film. Downey and Favreau tapped writer/actor Justin Theroux to pen the screenplay, which would introduce villains Justin Hammer and Whiplash (actually a sort of hybrid of that character and the Crimson Dynamo) into the story after comic book arch-nemesis The Mandarin was nixed as both too fantastical and potentially racist. Also slated to make her debut in the movie: Black Widow (Scarlett Johansson), a nod to the impending creation of the Avengers but one of the many elements of a movie that was potentially piling up too many plot threads. Although initial reports suggested that at least part of the film would adapt the famous “Demon in a Bottle” storyline, in which Tony Stark becomes a full-blown alcoholic, that aspect of the narrative was toned down due to concerns over toy sales and younger viewers’ perception of Iron Man. The movie reportedly began filming without a finished script, something that would hamper future Marvel movies and lead the studio to make reshoots a permanent part of every film’s production schedule. This necessitated Theroux having to do daily rewrites on the set with Favreau and Downey, with the latter’s ad-libbing and improvisatory style of acting further muddying what was already a confusing and tonally uneven plot. New Faces, New Problems As mentioned, Downey, Paltrow, Favreau, Gregg, and Jackson (the latter after some torturous negotiations) all returned to their roles in Iron Man 2, but Terence Howard, who co-starred in Iron Man as Tony Stark’s best friend, Col. James “Rhodey” Rhodes, did not. Depending on who you ask, Howard was either too difficult or too expensive—or both—to keep around for the sequel. He was replaced by Don Cheadle, who’s played Rhodey (and become a fan favorite, at least until Secret Invasion retconned him as a Skrull) ever since. Ironically Marvel should have learned from this and the recasting of Bruce Banner (from Edward Norton to Mark Ruffalo) that it was okay to recast a major role once in a while. But the biggest mistake Marvel made in this regard was arguably announcing that T’Challa/Black Panther would not be recast after the tragic death of Chadwick Boseman, which left the MCU without one of its most potentially important superheroes (Marvel has since seemingly eased up on this, with Harrison Ford replacing the late William Hurt as “Thunderbolt” Ross and rumors circulating that a new T’Challa from a different universe will soon appear). Still, the casting of Iron Man 2’s villains, Justin Hammer and Ivan Vanko/Whiplash, set some precedents that would later haunt the MCU in a different way. Hammer was played by Sam Rockwell (an early candidate for Iron Man himself) and acquitted himself well, but his role was in some ways superfluous to a story already packed with new characters and themes and his function in the movie was not always clear (he’s also yet to reappear in the MCU). But it was Mickey Rourke being courted to play Whiplash that perhaps caused the most angst. With Rourke coming in hot off his Oscar-nominated, Golden Globe-winning comeback performance in The Wrestler, Marvel wanted to seize a prestige casting coup—a move similar to its hiring of recent Oscar winner Brie Larson years later to play Captain Marvel. It could be argued that neither Rourke nor Larson was ultimately the right fit for their roles, but luring award winners to a comic book universe was too tempting for Marvel to pass up. In retrospect, they might have even dodged a bullet when Joaquin Phoenix passed on playing Doctor Strange given the actor’s reportedly mercurial methods. Rourke allegedly made bizarre demands to Marvel on Iron Man 2. This included that Vanko have a pet bird and wear his hair in a bun. He also reportedly clashed with Favreau during filming. Later he would say publicly he was unhappy with the final product, claiming that a lot of his performance was left on the cutting room floor. Whiplash in the finished film is certainly a strange character and the first of many undercooked Marvel villains to come. But that didn’t stop the studio from pursuing other actors and filmmakers basking in the glow of a high-profile awards run. Too Much of Everything Whereas the first Iron Man was a sleek, crisply told origin story, Iron Man 2 was, narratively speaking, a mess. The film dealt with Tony Stark’s inability to reconcile his personal identity with his new public persona as Iron Man, his lingering issues with his father, Howard Stark (John Slattery), his burgeoning drinking problem (less visible in the finished film, but still there), and his discovery that the core element in his arc reactor was slowly poisoning him. Join our mailing list Get the best of Den of Geek delivered right to your inbox! And that was just Tony; the rest of the film introduced Black Widow and the beginnings of the Avengers, put Rhodey in his War Machine armor for the first time, expanded the role of Nick Fury and S.H.I.E.L.D., set out easter eggs for Thor and Captain America, and tried to balance the roles of two villains whose motivations and tones were not at all well-defined or complementary. It was, in short, a hodgepodge of ideas, plot points, and hints at future movies that all but dragged itself over the finish line without a coherent structure—a problem that would crop up again in the MCU. The franchise’s obsession with world-building at the expense of focus and logic reared its head in Avengers: Age of Ultron, which brought four new characters into an already crowded ensemble (Scarlet Witch, Quicksilver, Vision, and the title villain) while also planting seeds about Asgard, Wakanda, and the Infinity Stones (some of which, to be fair, did pay off later). Even the underrated Black Panther: Wakanda Forever, released years later, acted partly as a commercial for the still-unaired Ironheart TV series (ironically The Marvels worked in reverse, requiring audiences to watch two TV shows to understand some of what was happening). Part of the charm of the Marvel Cinematic Universe, of course, is watching out for those many easter eggs, post-credit scenes, and surprise cameos that remind us that it is indeed a universe, one that’s constantly evolving and expanding. But some of those universe-building elements have worked better than others over the years, and with Iron Man 2, it felt like sensory overload—not that that stopped Marvel from doing it again and again in the years since. Iron Man 2: The Gift That Keeps on Giving? Iron Man 2 was an even bigger success at the box office ($624 million) that its predecessor ($585 million), but it also cost more ($200 million as opposed to $140 million) and was less enthusiastically received by critics. It was a troubled, patchwork project from the start, but even as Marvel Studios went on to hit heights of success no one could have possibly imagined for a filmed comic book universe, the studio continually made the same mistakes that dogged the production of Iron Man 2 and kept it from being the sequel it could have been. In some cases those mistakes may have temporarily dinged the brand (Age of Ultron), but in the long run, their impact has not done permanent damage to the MCU or the vast majority of its output. Still, with the last few years being particularly rocky ones for the MCU in terms of quality and coherence, it might not hurt Kevin Feige and company to fire up Iron Man 2 once in a while and remember it as a cautionary tale of what not to do.
    0 Комментарии 0 Поделились
  • ‘The Final Reckoning’ Review: Great Stunts, Messy Script

    Wing walking is an art older than sound cinema. Before movies included spoken dialogue, they were already filled with daredevils who risked — and sometimes lost — their lives performing incredible feats in and on top of airplanes. So when producer/star Tom Cruise and producer/co-writer/director Christopher McQuarrie turned the climax of Mission: Impossible — The Final Reckoning into maybe the greatest display of wing walking and aerial stunt work in the last 50 years, that’s wasn’t a haphazard choice. It was a decision designed to further the mission of this franchise for the last three decades: To thrill moviegoers with old-fashioned Hollywood spectacle on the grandest scale possible.It’s impossible for me to give a negative review to a movie with a climax as good as the one that concludes The Final Reckoning; Cruise hanging off a biplane hundreds of feet in the air is more than worth the price of admission all by itself. But it’s also possible that the rest of The Final Reckoning is a mess, and ranks near the bottom of this long-running franchise.Mission: Impossible - The Final ReckoningParamount Pictures and Skydanceloading...It’s not just that its story is a confusing jumble, although that is also true. Some of the script’s problems are even more fundamental than that. I do not understand, for instance, how filmmakers of McQuarrie and Cruise’s expertise and experience could make a movie that never explains why one of its key characters spends almost all of his scenes in an underground hospital. Is this person dying? Can they be cured? Despite a runtime of 170 minutes, The Final Reckoning can’t find room to answer those basic questions.That decision is all the more baffling because that same character looked completely fine when they last appeared in the previous Mission: Impossible, 2023’s Dead Reckoning — Part One. The Final Reckoning establishes that two months have passed since the events of the prior film, and while this movie does continue its central conflict, with Cruise’s super spy Ethan Hunt fighting a rogue AI known as “The Entity,” some of The Final Reckoning’s twists feel oddly disconnected from its predecessor .The same pattern repeats a couple times; Ethan gets knocked out in one glamorous location and wakes up in another. Gabriel drops Ethan in an inescapable trap in order to force him to do something against his will. Ethan wriggles free, only to find Gabriel has an even more elaborate backup plan waiting for him.Cut to: More running, more chasing, more hazy alliances between assorted members of an enormous cast that includes longtime players Ving Rhames, Simon Pegg, and Henry Czerny, relative newcomers Hayley Atwell and Pom Klementieff, and total neophytes like Ted Lasso’s Hannah Waddingham as an Naval officer and Parks and Recreation’s Nick Offerman as the Secretary of Defense. The whiplash between locations, the bewildering web of character loyalties — some people want to control the Entity, some want to destroy it — is such a muddle I started to wonder whether Ethan was trapped inside an impressive but not wholly convincing computer simulation of reality he would eventually recognize and escape in true impossible mission fashion.Mission: Impossible - The Final ReckoningParamountloading...No such luck. To be sure, when The Final Reckoning finally puts all its pieces in place, it quite literally flies. But there also some truly clunky exchanges — something that has never been the case in the Mission: Impossible franchise before, especially since McQuarrie took over as writer and director with 2015’s Rogue Nation. That includes way too many self-congratulatory Easter eggs from throughout the history of the franchise. The callbacks include multiple clip montages, surprise cameos, and totally unnecessary explanations of unresolved Mission plot threads. Even the date of the first Mission: Impossible’s premiere becomes an crucial plot point.I love these movies as much as anyone on the planet; I’ve seen every single one in a theater, most multiple times. A few of the references made me smile; most felt indicative of a film that’s a bit too clever for its own good. Every single thing in every single movie does not needs to connect to everything else.Mission: Impossible - The Final ReckoningParamountloading...The spectacular aerial climax is one of four do-or-die missions all happening simultaneously in The Final Reckoning’s final minutes. While I appreciated the attempt to top every previous world-saving effort — and Cruise’s commitment to these movies is beyond reproach — I also found myself a little disappointed every time McQuarrie cut away from him dangling off that biplane. The other characters don’t add more tension; they distract from the main event. The old masters of early movie stunts who Cruise and McQuarrie so obviously admire knew that sometimes simpler was better.Additional Thoughts:-Flashbacks sprinkled throughout Dead Reckoning established that Gabriel played a role in a mysterious tragedy that led Ethan to join the IMF. In these flashbacks, Esai Morales appeared as a young man, presumably de-aged using digital technology. The Final Reckoning doesn’t really pay off this subplotbut in the brief snippets that do appear in The Final Reckoning, Cruise’s face is never shown. The “young“ Ethan Hunt only appears from behind or in shadow. In a movie all about Ethan Hunt trying to destroy a truth-manipulating computer that can alter reality, that feels notable.-Also notable: Ethan Hunt wants to destroy the Entity, but because the Entity has infiltrated every corner of cyberspace, that means Tom Cruise may have to destroy the entire internet in the process.RATING: 6/10Guilty Pleasure Movies From the ’90sThese ’90s films do not have good reputations. Most are cheesy and a few are really dated. We love them anyway.
    #final #reckoning #review #great #stunts
    ‘The Final Reckoning’ Review: Great Stunts, Messy Script
    Wing walking is an art older than sound cinema. Before movies included spoken dialogue, they were already filled with daredevils who risked — and sometimes lost — their lives performing incredible feats in and on top of airplanes. So when producer/star Tom Cruise and producer/co-writer/director Christopher McQuarrie turned the climax of Mission: Impossible — The Final Reckoning into maybe the greatest display of wing walking and aerial stunt work in the last 50 years, that’s wasn’t a haphazard choice. It was a decision designed to further the mission of this franchise for the last three decades: To thrill moviegoers with old-fashioned Hollywood spectacle on the grandest scale possible.It’s impossible for me to give a negative review to a movie with a climax as good as the one that concludes The Final Reckoning; Cruise hanging off a biplane hundreds of feet in the air is more than worth the price of admission all by itself. But it’s also possible that the rest of The Final Reckoning is a mess, and ranks near the bottom of this long-running franchise.Mission: Impossible - The Final ReckoningParamount Pictures and Skydanceloading...It’s not just that its story is a confusing jumble, although that is also true. Some of the script’s problems are even more fundamental than that. I do not understand, for instance, how filmmakers of McQuarrie and Cruise’s expertise and experience could make a movie that never explains why one of its key characters spends almost all of his scenes in an underground hospital. Is this person dying? Can they be cured? Despite a runtime of 170 minutes, The Final Reckoning can’t find room to answer those basic questions.That decision is all the more baffling because that same character looked completely fine when they last appeared in the previous Mission: Impossible, 2023’s Dead Reckoning — Part One. The Final Reckoning establishes that two months have passed since the events of the prior film, and while this movie does continue its central conflict, with Cruise’s super spy Ethan Hunt fighting a rogue AI known as “The Entity,” some of The Final Reckoning’s twists feel oddly disconnected from its predecessor .The same pattern repeats a couple times; Ethan gets knocked out in one glamorous location and wakes up in another. Gabriel drops Ethan in an inescapable trap in order to force him to do something against his will. Ethan wriggles free, only to find Gabriel has an even more elaborate backup plan waiting for him.Cut to: More running, more chasing, more hazy alliances between assorted members of an enormous cast that includes longtime players Ving Rhames, Simon Pegg, and Henry Czerny, relative newcomers Hayley Atwell and Pom Klementieff, and total neophytes like Ted Lasso’s Hannah Waddingham as an Naval officer and Parks and Recreation’s Nick Offerman as the Secretary of Defense. The whiplash between locations, the bewildering web of character loyalties — some people want to control the Entity, some want to destroy it — is such a muddle I started to wonder whether Ethan was trapped inside an impressive but not wholly convincing computer simulation of reality he would eventually recognize and escape in true impossible mission fashion.Mission: Impossible - The Final ReckoningParamountloading...No such luck. To be sure, when The Final Reckoning finally puts all its pieces in place, it quite literally flies. But there also some truly clunky exchanges — something that has never been the case in the Mission: Impossible franchise before, especially since McQuarrie took over as writer and director with 2015’s Rogue Nation. That includes way too many self-congratulatory Easter eggs from throughout the history of the franchise. The callbacks include multiple clip montages, surprise cameos, and totally unnecessary explanations of unresolved Mission plot threads. Even the date of the first Mission: Impossible’s premiere becomes an crucial plot point.I love these movies as much as anyone on the planet; I’ve seen every single one in a theater, most multiple times. A few of the references made me smile; most felt indicative of a film that’s a bit too clever for its own good. Every single thing in every single movie does not needs to connect to everything else.Mission: Impossible - The Final ReckoningParamountloading...The spectacular aerial climax is one of four do-or-die missions all happening simultaneously in The Final Reckoning’s final minutes. While I appreciated the attempt to top every previous world-saving effort — and Cruise’s commitment to these movies is beyond reproach — I also found myself a little disappointed every time McQuarrie cut away from him dangling off that biplane. The other characters don’t add more tension; they distract from the main event. The old masters of early movie stunts who Cruise and McQuarrie so obviously admire knew that sometimes simpler was better.Additional Thoughts:-Flashbacks sprinkled throughout Dead Reckoning established that Gabriel played a role in a mysterious tragedy that led Ethan to join the IMF. In these flashbacks, Esai Morales appeared as a young man, presumably de-aged using digital technology. The Final Reckoning doesn’t really pay off this subplotbut in the brief snippets that do appear in The Final Reckoning, Cruise’s face is never shown. The “young“ Ethan Hunt only appears from behind or in shadow. In a movie all about Ethan Hunt trying to destroy a truth-manipulating computer that can alter reality, that feels notable.-Also notable: Ethan Hunt wants to destroy the Entity, but because the Entity has infiltrated every corner of cyberspace, that means Tom Cruise may have to destroy the entire internet in the process.RATING: 6/10Guilty Pleasure Movies From the ’90sThese ’90s films do not have good reputations. Most are cheesy and a few are really dated. We love them anyway. #final #reckoning #review #great #stunts
    SCREENCRUSH.COM
    ‘The Final Reckoning’ Review: Great Stunts, Messy Script
    Wing walking is an art older than sound cinema. Before movies included spoken dialogue, they were already filled with daredevils who risked — and sometimes lost — their lives performing incredible feats in and on top of airplanes. So when producer/star Tom Cruise and producer/co-writer/director Christopher McQuarrie turned the climax of Mission: Impossible — The Final Reckoning into maybe the greatest display of wing walking and aerial stunt work in the last 50 years, that’s wasn’t a haphazard choice. It was a decision designed to further the mission of this franchise for the last three decades: To thrill moviegoers with old-fashioned Hollywood spectacle on the grandest scale possible.It’s impossible for me to give a negative review to a movie with a climax as good as the one that concludes The Final Reckoning; Cruise hanging off a biplane hundreds of feet in the air is more than worth the price of admission all by itself. But it’s also possible that the rest of The Final Reckoning is a mess, and ranks near the bottom of this long-running franchise.Mission: Impossible - The Final ReckoningParamount Pictures and Skydanceloading...It’s not just that its story is a confusing jumble, although that is also true. Some of the script’s problems are even more fundamental than that. I do not understand, for instance, how filmmakers of McQuarrie and Cruise’s expertise and experience could make a movie that never explains why one of its key characters spends almost all of his scenes in an underground hospital. Is this person dying? Can they be cured? Despite a runtime of 170 minutes, The Final Reckoning can’t find room to answer those basic questions.That decision is all the more baffling because that same character looked completely fine when they last appeared in the previous Mission: Impossible, 2023’s Dead Reckoning — Part One. The Final Reckoning establishes that two months have passed since the events of the prior film, and while this movie does continue its central conflict, with Cruise’s super spy Ethan Hunt fighting a rogue AI known as “The Entity,” some of The Final Reckoning’s twists feel oddly disconnected from its predecessor (like afflicting a previously healthyDead Reckoning and went back to square one in the middle of shooting — which, to be fair, would be an extremely Ethan Hunt thing to do.Mission: Impossible - The Final ReckoningParamountloading...Of course, Ethan Hunt would have pulled off that kind of on-the-fly salvage operation without breaking a sweat. The Final Reckoning opens with a jarring series of scenes that awkwardly reestablish its key heroes and villains. While the Entity spreads its truth-altering tentacles throughout the internet, Ethan races to rescue various members of his Impossible Mission Force from the computer’s fiendish emissary Gabriel (Esai Morales).The same pattern repeats a couple times; Ethan gets knocked out in one glamorous location and wakes up in another. Gabriel drops Ethan in an inescapable trap in order to force him to do something against his will. Ethan wriggles free, only to find Gabriel has an even more elaborate backup plan waiting for him. (I guess when you can consult a godlike computer, you’re prepared for every eventuality.)Cut to: More running, more chasing, more hazy alliances between assorted members of an enormous cast that includes longtime players Ving Rhames, Simon Pegg, and Henry Czerny, relative newcomers Hayley Atwell and Pom Klementieff, and total neophytes like Ted Lasso’s Hannah Waddingham as an Naval officer and Parks and Recreation’s Nick Offerman as the Secretary of Defense. The whiplash between locations, the bewildering web of character loyalties — some people want to control the Entity, some want to destroy it — is such a muddle I started to wonder whether Ethan was trapped inside an impressive but not wholly convincing computer simulation of reality he would eventually recognize and escape in true impossible mission fashion.Mission: Impossible - The Final ReckoningParamountloading...No such luck. To be sure, when The Final Reckoning finally puts all its pieces in place, it quite literally flies. But there also some truly clunky exchanges — something that has never been the case in the Mission: Impossible franchise before, especially since McQuarrie took over as writer and director with 2015’s Rogue Nation. That includes way too many self-congratulatory Easter eggs from throughout the history of the franchise. The callbacks include multiple clip montages, surprise cameos, and totally unnecessary explanations of unresolved Mission plot threads. Even the date of the first Mission: Impossible’s premiere becomes an crucial plot point.I love these movies as much as anyone on the planet; I’ve seen every single one in a theater, most multiple times. A few of the references made me smile; most felt indicative of a film that’s a bit too clever for its own good. Every single thing in every single movie does not needs to connect to everything else.Mission: Impossible - The Final ReckoningParamountloading...The spectacular aerial climax is one of four do-or-die missions all happening simultaneously in The Final Reckoning’s final minutes. While I appreciated the attempt to top every previous world-saving effort — and Cruise’s commitment to these movies is beyond reproach — I also found myself a little disappointed every time McQuarrie cut away from him dangling off that biplane. The other characters don’t add more tension; they distract from the main event. The old masters of early movie stunts who Cruise and McQuarrie so obviously admire knew that sometimes simpler was better.Additional Thoughts:-Flashbacks sprinkled throughout Dead Reckoning established that Gabriel played a role in a mysterious tragedy that led Ethan to join the IMF. In these flashbacks, Esai Morales appeared as a young man, presumably de-aged using digital technology. The Final Reckoning doesn’t really pay off this subplot (yet another element from the last film that gets dropped) but in the brief snippets that do appear in The Final Reckoning, Cruise’s face is never shown. The “young“ Ethan Hunt only appears from behind or in shadow. In a movie all about Ethan Hunt trying to destroy a truth-manipulating computer that can alter reality, that feels notable.-Also notable: Ethan Hunt wants to destroy the Entity, but because the Entity has infiltrated every corner of cyberspace, that means Tom Cruise may have to destroy the entire internet in the process.RATING: 6/10Guilty Pleasure Movies From the ’90sThese ’90s films do not have good reputations. Most are cheesy and a few are really dated. We love them anyway.
    0 Комментарии 0 Поделились
Расширенные страницы