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Speaker 1: Warning, this podcast contains spoilers for the premiere of HBO's

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Speaker 1: The Last of Us. Hello, my name is Jason Concepcion

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Speaker 1: and I'm Rosy Night, and welcome to X Revision, the

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Speaker 1: Crooked Media podcast where we dive be to your favorite shows, comics,

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Speaker 1: and pop culture.

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Speaker 2: In this episode previously and we're going to be digging

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Speaker 2: into that wild Mandalorian season three trailer, the Baby's Back,

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Speaker 2: the Baby's Bay, Baby's Back, And in the airlock we're

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Speaker 2: going to be talking about that unreal premiere of HBO's

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Speaker 2: The Last of Us, which I just cannot wait to

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Speaker 2: talk about because it look.

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Speaker 1: I can't wait, it was so good. And of course

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Speaker 1: this is an all at card podcast. And if you

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Speaker 1: want to jump around and just pick the little bits

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Speaker 1: you like, check the show notes and the timestamps for

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Speaker 1: the topics that we talk about and where they are

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Speaker 1: coming up. Let's get into that Mandalorian trailer in the

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Speaker 1: previous sound first up, Okay, Mandalorian season three trailer debuted

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Speaker 1: during Dallas Cowboys versus Tampa Bay Buccaneers, who which is

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Speaker 1: why I tuned in also to see Tom Brady get stomped.

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Speaker 1: But man looks great, not a lot of new stuff

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Speaker 1: from compared to the trailer that had been out there,

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Speaker 1: but really really fun. Looks great.

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Speaker 2: The baby is back, The baby's back. Lots of vines,

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Speaker 2: Mary Laurians.

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Speaker 1: Here is some just like in no order, some things

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Speaker 1: that popped out to me, grief, cargo, the come up continues.

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Speaker 1: He looks great.

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Speaker 2: I love call Weathers. I love to see it every day.

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Speaker 1: No one has looked more delighted to be in a

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Speaker 1: role than Carl, Like every time I watch him, you

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Speaker 1: can see him being like, can you believe this is

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Speaker 1: this great?

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Speaker 2: Yeah? I love it. This is suer great. Hopefully he'll

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Speaker 2: be directing some more episodes.

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Speaker 1: Yeah, the robes, like the fact that he seems to

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Speaker 1: be in control of a significant power structure now is

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Speaker 1: really cool.

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Speaker 2: That is great.

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Speaker 1: Yeah.

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Speaker 2: Also the armorer was that like flashbacks, are they going

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Speaker 2: to be a major role again? I'm hoping that it's

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Speaker 2: the latter, But it's really interesting. It's weird to say, oh,

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Speaker 2: a lot of Mandalorians, because like there really aren't a

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Speaker 2: lot of them, but yeah, we see that dinn is

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Speaker 2: basically he's in a position where he's trying to reimagine

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Speaker 2: what the Mandalorians can be outside of progressive side of

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Speaker 2: death like something. And he's got to, you know, go

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Speaker 2: back to Mandalaw because he took off his took off

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Speaker 2: his mask so he could go on the baby. Yeah,

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Speaker 2: you know, so it will be very interesting to see

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Speaker 2: for me. I love to see some weird alien races.

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Speaker 2: So we had I have seen the a Kawakian monkey

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Speaker 2: lizard aka Silatious Crumb. It wasn't Silatious Crumb probably, but

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Speaker 2: I yelled Silatious be crumb. Uh. And then obviously I

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Speaker 2: know in our discord people are like really excited, like

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Speaker 2: is that Babu Frick? Is it Babu Frick? Well, there's

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Speaker 2: two of them, but at least it's an Anzilin I

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Speaker 2: believe is what they're called. So I love Babu Frick.

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Speaker 2: I'm happy to see it. I love to see some

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Speaker 2: weird alien creatures me too. Also, I'm very interested. You

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Speaker 2: know you talked about let's talk about like Anakin and

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Speaker 2: Order sixty six and also like temple.

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Speaker 1: Uh we okay, so that's probably a battle droid that's

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Speaker 1: cutting open the door. That said, I'm just going off

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Speaker 1: of the color of the laser that appears to be

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Speaker 1: cutting the door open. That's ITID I do wonder if

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Speaker 1: we're going to see a de aged Anakin doing a

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Speaker 1: lot of murder stuff, And it feels like to put

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Speaker 1: that in the trailer sets up. We're gonna let you

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Speaker 1: know how baby Yoda escaped. Of course, yeah, they know

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Speaker 1: we're gonna tell you how.

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Speaker 2: They know what that evokes when they put that in

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Speaker 2: the trailer. It evokes horror and terror. And yeah, well

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Speaker 2: you know, Hayden's back now, so we could see it.

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Speaker 2: You know, we we saw what they did with Luke,

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Speaker 2: it would be much easier to do it with Hayden.

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Speaker 2: And yeah, I'm I'm very excited. I love this show.

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Speaker 2: I love the baby, you know, I love Patro. I'm

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Speaker 2: so happy things are going so well for him right now.

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Speaker 2: Like back where did share the trailer? I was just thinking, like,

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Speaker 2: good for him. I was like, coming off the back

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Speaker 2: of like one of the best reviews, well, the best

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Speaker 2: reviewed live action video game adaptation ever.

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Speaker 1: We'll get it. Yeah, yeah, get okay, Actually, let's just

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Speaker 1: do that up. Next to the premiere of HBOS Last Us,

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Speaker 1: we're stepping out of the airlock and into the broken

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Speaker 1: down streets of Boston, looking better than ever, if you

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Speaker 1: ask me to talk about the premiere of HBO Max

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Speaker 1: Is the Last of Us adaptation created by Craig Mason

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Speaker 1: and Naughty dogg ep Neil Druckman, starring Pedro Pascal as Joel,

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Speaker 1: Bella Ramsay as Ellie and A Turf as Tess, Gabriel

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Speaker 1: Luna as Tommy, and more people that we haven't really

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Speaker 1: seen yet. Let's talk about this first. You mentioned it

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Speaker 1: in the previously on there's been you know, the kind

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Speaker 1: of tagline for this, or at least the media narrative

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Speaker 1: is here is the video game adaptation that has broken

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Speaker 1: the curse. Now, some have said, well what about.

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Speaker 2: So so I think the thing is to say animated,

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Speaker 2: because like we've had.

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Speaker 1: All K live action live action right right, and and honestly,

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Speaker 1: that's that is a big deal, because when you're talking

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Speaker 1: about something like Arcane, it's I'm not I'm not trying

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Speaker 1: to undercut how cool it was and how legitimately equality

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Speaker 1: and great it was. Even if like you're like me,

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Speaker 1: you're not a League of Legends person, it was great.

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Speaker 1: You're still talking about a computer generated visual medium to

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Speaker 1: another computer generated visual medium.

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Speaker 2: I was gonna say, the medium is a similar. So

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Speaker 2: it feels the cousins.

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Speaker 1: I like that this is a completely different animal, and

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Speaker 1: I was blown away. I was it to me, it

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Speaker 1: was a lot like the House of the Dragon adaptation,

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Speaker 1: in which we know a lot of the story. If

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Speaker 1: you played the games, but both one and two you

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Speaker 1: know where this goes. People have replayed the games. There's DLC,

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Speaker 1: so people have played the games multiple times and for

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Speaker 1: good reason. But this adaptation, it's not just like, you know,

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Speaker 1: making the parts that wouldn't work as a television narrative work.

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Speaker 1: It's that they everything is really really additive and like

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Speaker 1: House to the Dragon, even if you know the story,

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Speaker 1: there's a ton of surprises there for you.

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Speaker 2: Yeah, I think that's really a great point. I'd say definitely.

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Speaker 2: How so the Dragon comes to mind. Also, it reminds

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Speaker 2: me kind of what they did with this Star Wars

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Speaker 2: animated shows, where you're meeting these characters, but you're getting

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Speaker 2: these huge moments of context and spending much more time

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Speaker 2: with them. And I think, especially as we go in

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Speaker 2: to the later episodes, that is going to be where

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Speaker 2: this show really shines. But I thought the first episode

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Speaker 2: was so brilliant. I mean, we've talked about that cold

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Speaker 2: open in the game, you know, quite extensively, and to

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Speaker 2: be able to bring that to life here and make

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Speaker 2: it even more heart wrenching even when you are not

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Speaker 2: in control. Oh, which was our biggest question is how

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Speaker 2: does this story feel when you are not an active

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Speaker 2: part of it? And you know what still feels as

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Speaker 2: moving and engaging and exciting as ever.

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Speaker 1: Okay, let's get into the recap. Episode one, when You're

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Speaker 1: Lost in the Darkness, written by Craig Mason and Neil Druckman,

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Speaker 1: directed by Craig Mason. We open in nineteen sixty eight

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Speaker 1: on a talk show kind of like a fictional version

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Speaker 1: of firing Line. There's a host. He's talking to a

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Speaker 1: pair of intellectuals about a parent, you know, pandemic threats,

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Speaker 1: epidemiological threats, the kind of things that keep them up

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Speaker 1: at night. One of them mentions, hey, commercial travels, is

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Speaker 1: this really dangerous amplifying effect. You know, bacteria virus can

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Speaker 1: be in Kenya and then it can be in Chicago,

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Speaker 1: and it can go around the world very quickly. And

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Speaker 1: the other one is a much more interesting and seemingly

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Speaker 1: out of the box concern, which is fung guy. Unlike

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Speaker 1: viral or bacterial infections. Fun guy, he said, as can

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Speaker 1: actually hijack the nervous system, and he uses LSD as

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Speaker 1: an example, which the ergot fungus, which is the kind

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Speaker 1: of like a natural basis for lysergic acid, which many

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Speaker 1: surmise has caused like various mass freakouts in medieval times.

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Speaker 1: I don't know if anybody's ever looked into this, but

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Speaker 1: there's like, you know, there's these various like dancing plagues

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Speaker 1: where like an entire village in medieval like Germany, just

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Speaker 1: like flip shared hysteria. So there's a lot of there's

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Speaker 1: a lot of subposition that that ergot fungus caused that.

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Speaker 1: And then he mentions these very specific funguses that attack

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Speaker 1: ants and also wasps that hijack their their brains and

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Speaker 1: basically turned them into puppets. And then he says, hey, yeah, obviously,

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Speaker 1: like fungui can't survive temperatures at the the internal temperature

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Speaker 1: of the human body and hotter. But what if the

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Speaker 1: work got hotter. And of course we know that the

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Speaker 1: world will get hotter as we are living through it

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Speaker 1: right now. And Rosie I was really struck by the

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Speaker 1: decision to go in nineteen sixty eight, because it was

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Speaker 1: really that was the kind of like consensus, the mass

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Speaker 1: American consensus, worst year in American history before any of

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Speaker 1: the years that have happened in our recent lifetimes. You know,

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Speaker 1: like you had obviously Vietnam and the tet Offensive, and

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Speaker 1: that was going terribly opening American's eyes to how were

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Speaker 1: they were not going to win that war? Not to

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Speaker 1: mention the images of violence Street, you know, just like

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Speaker 1: beamed into American households every single night. Martin Luther King

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Speaker 1: was assassinated that year, Robert F. Kennedy was assassinated that year.

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Speaker 1: There are riots that ensued. There was the Democratic National Convention,

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Speaker 1: which turned into a police riot as the police just

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Speaker 1: like viciously beat down protesters in full view of cameras.

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Speaker 1: Prague Spring. It was a really really chaotic and crazy year,

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Speaker 1: and I think it makes sense that they would It's

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Speaker 1: such a small detail, but really cool that they set

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Speaker 1: that talk show in that year.

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Speaker 2: No, I love that. I think this is such a

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Speaker 2: great expositionary opening where you have these brilliant performances and

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Speaker 2: it feels very chernobyl, it feels very on the nose.

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Speaker 2: There's like a tiny liess and I absolutely love the

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Speaker 2: way that you start with the first intellectual who in

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Speaker 2: our world he was right because guess what we lived

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Speaker 2: through COVID and this the reason that it spread so

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Speaker 2: fast was very much to do with commercial travel. So

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Speaker 2: you have that little nod without it feeling out of

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Speaker 2: this world. But then you get to listen to somebody

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Speaker 2: basically explain how the corterceps will work in a way

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Speaker 2: that doesn't feel like an exposition dump later on. And

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Speaker 2: I love the way that the beginning when he says fungi,

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Speaker 2: people are laughing in the audience, but by the end

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Speaker 2: when he makes the point about global warming and what

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Speaker 2: if the world got hot, everyone just absolutely goes silent.

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Speaker 2: And the talk show says to him, you know, well,

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Speaker 2: what would happen if all of that happens? And he

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Speaker 2: just looks him and he says, will we lose? And

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Speaker 2: you know, that's what we know, and we should mention.

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Speaker 1: I feel like I should mention. This is nineteen sixty

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Speaker 1: eight fictional nineteen sixty eight, the first like official Exxon

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Speaker 1: funded internal studies about what would happen when petroleum you know,

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Speaker 1: byproducts are ejected hydrocarbon biproducts are rejected to the atmosphere

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Speaker 1: at a mass rate. Appeared in nineteen seventy seven. Their

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Speaker 1: internal documents where they basically were like, oh yeah, we're

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Speaker 1: going to get global warming like it predicted, and it

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Speaker 1: was disbelievably surrealfically correct, Like those people have been looking

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Speaker 1: at those studies again and they just knew and they

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Speaker 1: did it anyway. Yeah, so that was only nine years

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Speaker 1: in fictional world. After this, we open on Austin, Texas,

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Speaker 1: two thousand and three, and here comes our cold opens.

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Speaker 1: I'm sure fans of the video game now are like

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Speaker 1: leaning in as soon as we go here. We meet Sarah,

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Speaker 1: a teenager. She wakes up her dad, Joel. It is

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Speaker 1: Joel's birthday. Sarah's making him breakfast because it's her birthday.

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Speaker 1: We get this wonderful feel for their relationship in which

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Speaker 1: Joel obviously the bread winner. You can tell he takes

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Speaker 1: a lot of pride and feels a lot of pressure

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Speaker 1: in providing for you know, this this family unit that

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Speaker 1: they have here, but you can also tell that Sarah

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Speaker 1: is taking care of him in a very particular emotional

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Speaker 1: way and these kind of small moments and it's a

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Speaker 1: really wonderful acted scene he's thirty six, which ages up Joel.

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Speaker 1: I think a little bit from them, Yeah, it does.

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Speaker 2: And also like, I really just want to shower out

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Speaker 2: Nico Parker here, who plays Sarah.

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Speaker 1: I'm like, man, I'm sad.

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Speaker 2: She is so brilliant and they found all these little ways,

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Speaker 2: from the T shirt she wears that's from the game,

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Speaker 2: to the way they light her, especially once you get

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Speaker 2: into the car where there are these uncanny moments where

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Speaker 2: you feel like you're in the game just visually. But

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Speaker 2: she's so wonderful. I love this moment where it's kind

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Speaker 2: of this Joel. Yeah, he's the breadwinner, he goes to work,

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Speaker 2: but really Sarah is taking care of herself. There's this

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Speaker 2: great moment when she's cooking him breakfast where he's like,

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Speaker 2: have you done your homework? And she just gives the

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Speaker 2: scathing look.

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Speaker 1: He's like, what was it? A fractions?

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Speaker 3: And she's just looking at him like, you know, I've like,

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Speaker 3: you don't even ask me this stuff because that's not

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Speaker 3: your perview, Like you got to work till ten pm

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Speaker 3: every night and you pay the rent and I make

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Speaker 3: sure things around here get done, and it's that's those

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Speaker 3: have such great chemistry.

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Speaker 1: That's a good call. It. It reminded me. It really

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Speaker 1: resonated with me because I think, you know, my mom,

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Speaker 1: with the help of our grandma, really raised me and

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Speaker 1: my brother. And I was when it became clear that

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Speaker 1: she didn't need to be like are you doing your homework?

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Speaker 1: She just like checked out of it because it was

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Speaker 1: like not it was not gonna be a you know,

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Speaker 1: a big priority in terms of like the things that

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Speaker 1: she needed to do on a day to day level.

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Speaker 1: What like I can't remember. I think she stopped looking

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Speaker 1: at my report card, like in the fourth grade. She's like, Okay,

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Speaker 1: got it, I'm gonna I'm gonna go to work now.

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Speaker 1: Tommy arrives. Uncle Tommy arrives. Tommy a desert stored veteran.

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Speaker 1: It's clear from this is a little bit of a

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Speaker 1: fuck up. He works for Joel. Joel is keeping him

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Speaker 1: employed via his contracting business.

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Speaker 2: I mean it was also like a little bit late.

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Speaker 2: He missed the.

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Speaker 1: Brass it's the birthday bread like and also like Joel

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Speaker 1: has like a time crunch. He needs to get out

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Speaker 1: like at a certain time so that he gets felt

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Speaker 1: time with Sarah. And here's Tommy fucking it up again.

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Speaker 1: And as they're getting ready to head out, there's a

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Speaker 1: news report on the radio, not a lot. It doesn't

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Speaker 1: really mention anything other than the unressd in Jakarta and

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Speaker 1: American citizens are being urged to leave, suggesting that whatever's

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Speaker 1: happening is happening around the world.

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Speaker 2: Yeah, and I love this. There's a great moment here,

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Speaker 2: another great little bit of character building where Tommy and

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Speaker 2: Joel try and work out where Jakarta is and they

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Speaker 2: both just have no idea and I little least. Yeah,

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Speaker 2: I love the way that that shows, like this smallness

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Speaker 2: of their life and before it has to expand into

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Speaker 2: this kind of huge, epic kind of adventure of going

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Speaker 2: across the country in this a totally new way. But

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Speaker 2: of course Sarah knows, because Sarah is the students. Sarah,

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Speaker 2: it's so good.

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Speaker 1: This is how you do exposition. This is how you

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Speaker 1: do character building in a way that doesn't feel like, oh,

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Speaker 1: you're just telling me how these people are.

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Speaker 2: Even a lot of dialogue, Like there's actually still a

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Speaker 2: lot of and a lot of like eating and quietness

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Speaker 2: and Tommy's putting something in. It doesn't feel like you're

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Speaker 2: constantly being bombarded by prestige TV exposition. It very much

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Speaker 2: feels like you're in the game. And something else that

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Speaker 2: kind of blew my mind I wasn't expecting was the

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Speaker 2: use of the handheld camera, which is such a huge

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Speaker 2: part of the game and the visuals of the game.

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Speaker 2: Is that feeling of that shaky camp And as soon

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Speaker 2: as we kind of follow Sarah up the stairs, we

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Speaker 2: really get into that and you feel like you're in

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Speaker 2: the game and you're controlling that character.

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Speaker 1: So Joel and Tommy head out to Tommy's truck. Sarah

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Speaker 1: goes up to her dad's dresser. She gets a little

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Speaker 1: bit of money out there. Maybe if you haven't played

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Speaker 1: the game, you know, like Sarah, you wrap scallion, it

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Speaker 1: takes a little bit money, but also takes his broken watch,

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Speaker 1: a great recreation of the watch from the game, a

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Speaker 1: kind of field watch style watch, military style watch. And

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Speaker 1: then also and I thought it was like a wonderful

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Speaker 1: artistic flourish, she takes out his folding knife, which has

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Speaker 1: this wonderful engravement of like horses running on the on

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Speaker 1: the blade. You know, something that we will game players

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Speaker 1: will know from the second from the sequel is, you know,

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Speaker 1: the addition of horses and she just kind of sits

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Speaker 1: with it and considers it for a little while, and

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Speaker 1: it feels like this wonderful, like almost magical moment.

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Speaker 2: Yeah, it's that feeling as when you're a kid, you know.

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Speaker 2: She runs her finger down the blade, like she's perceiving

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Speaker 2: the knife and understanding in that moment, like everything's scary

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Speaker 2: about it, everything about the danger of what it can do,

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Speaker 2: but also the beauty. And it's just such a good

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Speaker 2: childhood moment. And it also very much feels once again

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Speaker 2: like you're in the game and you've picked something up

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Speaker 2: out of the drawer and you're looking at it, and

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Speaker 2: she kind of gets distracted by the knife and is

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Speaker 2: just staring at it until Joel starts bibbing the horn.

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Speaker 1: Yeah, you kind of get that.

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Speaker 2: Whoa she and she breaks out of her revery, and

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Speaker 2: it's just a really great moment.

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Speaker 1: Yeah, it just is really really cool. So Sarah comes

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Speaker 1: out and we meet the next door neighbors, an elderly

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Speaker 1: woman named Connie, who seems like she clearly can't move

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Speaker 1: on her own and is probably, you know, it's certainly

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Speaker 1: suggested by what you see in the kind of throws

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Speaker 1: of like dementia or something of that sort, and her

339
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Speaker 1: son Buddy Garrity from Friday Night Lights, who we all love.

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Speaker 1: They it's very clear that they are lonely. They invite

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Speaker 1: Sarah over that night to come just like hang out. Joel,

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Speaker 1: you know, is lightly teasing her about it, and it's

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Speaker 1: very clear that like neither of them want to spend

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Speaker 1: any time over there, but also like Sarah through that,

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Speaker 1: and it's a wonderful performance. Again, lets you understand what

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Speaker 1: a warm and generous person. Yes, she doesn't want to go, but.

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Speaker 2: Yeah, she's hung out with them, She's kept them buy

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Speaker 2: you know, she's kept them company, but she doesn't want

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Speaker 2: to do it. Neither does Joel. I really feel for

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Speaker 2: anyone watching this show who didn't know where this was going,

351
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Speaker 2: because their report is such a brilliant fake out and

352
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Speaker 2: they're so wonderful together.

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Speaker 1: Later in school, Sarah is sitting in English class when

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Speaker 1: she notices, because of the reflection from a student's bracelet,

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Speaker 1: that he's got a tremor.

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Speaker 2: Storytelling just really, don't do a seizure, you don't do

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Speaker 2: anything again. It adds I love that use of the

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Speaker 2: word magical that you say, because it really is this

359
00:20:41,520 --> 00:20:45,520
Speaker 2: kind of magical realism that limin or space between, like

360
00:20:46,000 --> 00:20:49,280
Speaker 2: is everything normal or is something huge about to change?

361
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Speaker 2: It captures that feeling when you're a kid of like

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Speaker 2: the the light in her face in class and I'm like,

363
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Speaker 2: is it someone she's got a crush on is trying

364
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Speaker 2: to communicate with her or something? And then I just see, well,

365
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Speaker 2: it's like it's just a little trauma. They didn't go

366
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Speaker 2: all out, and it's just that Sarah is beginning to

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Speaker 2: notice that things are something is wrong right.

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Speaker 1: And then as she as she leaves school and goes

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Speaker 1: to get the watch fixed, here again is another hint

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Speaker 1: of something big about to change. There are police cars

371
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Speaker 1: racing around, and the repairman's wife comes out and basically

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Speaker 1: shoes Sarah out of the shop. After only a few minutes.

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Speaker 1: It's like three o'clock. They close at seven. She's like, no, no, no,

374
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Speaker 1: we're shutting down. She clearly seems panicked, but in a

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Speaker 1: way where she doesn't want to alarm Sarah. Luckily, the

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00:21:42,240 --> 00:21:45,800
Speaker 1: repairman has finished his work and she just tells Sarah,

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Speaker 1: go home, go home, Go home, Go home. Sarah ends

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Speaker 1: up at the neighbors. Now as she's going to the

379
00:21:52,600 --> 00:21:55,359
Speaker 1: neighbors there's military jets that kind of do a quick

380
00:21:55,400 --> 00:21:57,959
Speaker 1: boom overhead, which, depending on what part of the country

381
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Speaker 1: you live in, is maybe not a strange site, but

382
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Speaker 1: you know, these kind of like clues are It was.

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Speaker 2: Definitely I was definitely catching some jokes about that they do. Again.

384
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Speaker 2: They do such a good job this kind of walking

385
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Speaker 2: through the suburbs with these huge jets booming. But as

386
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Speaker 2: someone who has lived the last seven years in like

387
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Speaker 2: the South Bay of LA, that's just my everyday life

388
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Speaker 2: helicopter jet, I was like, I will never know when

389
00:22:22,160 --> 00:22:24,520
Speaker 2: the zombie apocalypse is coming because it will just sound

390
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Speaker 2: like normal. I'll just be like, oh, it's they're right again.

391
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Speaker 1: Yeah, even in La proper up where I am, you know,

392
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Speaker 1: where the entire county is nestled between several huge military

393
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Speaker 1: bases and there is constant traffic over so again we

394
00:22:38,640 --> 00:22:40,159
Speaker 1: would not probably know I.

395
00:22:40,160 --> 00:22:44,520
Speaker 2: Would, but Sarah knows. And again I love, I really

396
00:22:44,560 --> 00:22:46,639
Speaker 2: love you know. What I thought was so cool. I

397
00:22:46,640 --> 00:22:48,959
Speaker 2: think a lot of times in movies, if you see

398
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Speaker 2: a singular person, especially a child, and they're walking and

399
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Speaker 2: above them are these kind of military jets that feels

400
00:22:56,200 --> 00:22:59,919
Speaker 2: almost like a triumphant top gun esque victory moment, you know,

401
00:23:00,320 --> 00:23:03,879
Speaker 2: and they subvert that. Here she's just so alone and

402
00:23:03,960 --> 00:23:07,960
Speaker 2: terrified and she knows in our heart like something bad

403
00:23:09,119 --> 00:23:11,919
Speaker 2: is going on, but just nobody else has noticed it.

404
00:23:12,040 --> 00:23:15,240
Speaker 1: Yeah, and again this is an example of how additive

405
00:23:15,320 --> 00:23:19,600
Speaker 1: this show is. In the game, of course, we only

406
00:23:19,640 --> 00:23:22,680
Speaker 1: get the scene where, you know, Joel wakes Sarah up

407
00:23:22,720 --> 00:23:25,479
Speaker 1: and she presents him with the watch and he asks

408
00:23:25,520 --> 00:23:29,000
Speaker 1: how she got it fixed, And you never really know this.

409
00:23:29,440 --> 00:23:33,479
Speaker 1: The show uses the game almost as an outline to

410
00:23:33,760 --> 00:23:37,439
Speaker 1: drop story beats in between these other beats which we

411
00:23:37,480 --> 00:23:40,080
Speaker 1: already know about, and it does it in this really expansive,

412
00:23:40,160 --> 00:23:44,600
Speaker 1: wonderful way. So over at the neighbors, the Adlers, you know,

413
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Speaker 1: she asks, hey, have you noticed anything that Miss Adler's

414
00:23:48,240 --> 00:23:53,480
Speaker 1: daughter asks, have you noticed anything a strange going on?

415
00:23:53,480 --> 00:23:57,720
Speaker 1: The woman essentially says no, and then it's like, hey,

416
00:23:58,080 --> 00:24:01,240
Speaker 1: making cookies, raising cookies. It's God again, clear Sarah doesn't

417
00:24:01,320 --> 00:24:04,480
Speaker 1: want those, but she's very, very kind and nice.

418
00:24:04,640 --> 00:24:07,720
Speaker 2: Okay, I need to say so, they're making the raisin cookies, right,

419
00:24:08,040 --> 00:24:12,080
Speaker 2: Sarah goes into the living room. In my opinion, what

420
00:24:12,200 --> 00:24:17,280
Speaker 2: is the scariest moment of the season. Very she starts

421
00:24:17,440 --> 00:24:22,040
Speaker 2: to look at the DVDs right something that obviously we're

422
00:24:22,080 --> 00:24:24,359
Speaker 2: meant to guess like it's two thousand and three, but

423
00:24:24,440 --> 00:24:27,000
Speaker 2: she's kind of into them and she wants she wants

424
00:24:27,040 --> 00:24:28,800
Speaker 2: to borrow a DVD. This is obviously part of the

425
00:24:28,800 --> 00:24:32,280
Speaker 2: reason that she's core with going over there, oh the hangover. Look,

426
00:24:32,320 --> 00:24:36,600
Speaker 2: they have the hangover, And as she's picking a DVD,

427
00:24:36,800 --> 00:24:40,119
Speaker 2: she is in focus and behind her, out of focus

428
00:24:40,960 --> 00:24:46,440
Speaker 2: is the mother is Yea, and she begins to have

429
00:24:46,520 --> 00:24:50,120
Speaker 2: a seizure, and you see just blurry in the background,

430
00:24:50,160 --> 00:24:51,880
Speaker 2: and if you're not paying attention, you might not even

431
00:24:51,920 --> 00:24:54,159
Speaker 2: see it, because Sarah is right there, in full focus

432
00:24:54,240 --> 00:24:56,919
Speaker 2: looking at these DVDs with all the excitement of a

433
00:24:56,960 --> 00:25:01,040
Speaker 2: teenager looking at DVDs. And in the ground we see

434
00:25:01,280 --> 00:25:04,439
Speaker 2: the mother's mouth open and kind of you know if

435
00:25:04,440 --> 00:25:07,040
Speaker 2: you played the game what this means, But it's it's

436
00:25:07,040 --> 00:25:10,159
Speaker 2: looking bad. It's looking bad, but Sarah, Sarah missed it.

437
00:25:10,200 --> 00:25:13,800
Speaker 2: And Sarah gets out of this moment unscathed and asks

438
00:25:13,840 --> 00:25:17,360
Speaker 2: to borrow the DVD, escapes the raisins, and heads out

439
00:25:17,400 --> 00:25:17,720
Speaker 2: the house.

440
00:25:18,160 --> 00:25:21,680
Speaker 1: What she does notice is that the Adler's dog has

441
00:25:21,720 --> 00:25:26,640
Speaker 1: taken a very keen interest in uh in missus Adler

442
00:25:26,720 --> 00:25:29,720
Speaker 1: and is staring at her in a very unselling way. Later,

443
00:25:29,800 --> 00:25:32,080
Speaker 1: Joel arrives home from work. He is an hour late.

444
00:25:32,480 --> 00:25:35,320
Speaker 1: He seems very tired. There are issues at work that

445
00:25:35,440 --> 00:25:38,320
Speaker 1: he's like, you don't care about this. He didn't bring

446
00:25:38,359 --> 00:25:40,800
Speaker 1: the cake that he had promised to bring home. He

447
00:25:40,840 --> 00:25:43,760
Speaker 1: had promised to bring it. He then promises again listen

448
00:25:44,600 --> 00:25:48,000
Speaker 1: on my Life, I will get one tomorrow, which is

449
00:25:48,080 --> 00:25:53,480
Speaker 1: just so brutal. Sarah then pulls out the DVD, which

450
00:25:53,520 --> 00:26:01,040
Speaker 1: is some kind of ninja action movie. Yeah, and you

451
00:26:01,080 --> 00:26:04,280
Speaker 1: know it's one that he very clearly, you know, it

452
00:26:04,359 --> 00:26:06,600
Speaker 1: was eager to watch. So they settle in to watch it.

453
00:26:06,680 --> 00:26:10,879
Speaker 1: Sarah falls asleep. While she's a sleep, Joel gets a

454
00:26:10,920 --> 00:26:14,600
Speaker 1: call from Tommy and Tommy has been arrested very clearly

455
00:26:14,680 --> 00:26:18,480
Speaker 1: again and he needsbody to bail him out because it's Friday,

456
00:26:18,600 --> 00:26:21,960
Speaker 1: and if Joel doesn't come bail him out tonight, that's it.

457
00:26:22,040 --> 00:26:24,359
Speaker 1: He's in there for. She's in county for lock up

458
00:26:24,400 --> 00:26:29,879
Speaker 1: for you know, the entire weekend. And Joel leaves, leaving

459
00:26:29,960 --> 00:26:33,199
Speaker 1: Sarah at home in the gathering dark. And it's in

460
00:26:33,400 --> 00:26:37,000
Speaker 1: that time about two am, little after two am that

461
00:26:37,160 --> 00:26:39,960
Speaker 1: shit really starts to go wrong. Sarah wakes up to

462
00:26:40,760 --> 00:26:46,000
Speaker 1: the sound of helicopters, the sound of you know, various

463
00:26:46,440 --> 00:26:54,879
Speaker 1: electrical infrastructure exploding, other explosions. She Carl alarms, dogs barking.

464
00:26:54,920 --> 00:26:58,600
Speaker 1: She wakes up, turns on the TV only the emergency

465
00:26:58,640 --> 00:27:03,719
Speaker 1: broadcast message, which is very concerning. Yeah, and then things

466
00:27:03,760 --> 00:27:09,120
Speaker 1: just happen with a gathering and terrible momentum. The Adler's

467
00:27:09,160 --> 00:27:13,120
Speaker 1: dog shows up. Sarah's like, what you know, it's panicked.

468
00:27:13,320 --> 00:27:15,240
Speaker 1: It runs away from her. She goes to check on

469
00:27:15,280 --> 00:27:20,800
Speaker 1: the neighbors. They are dead or mortally wounded. And Connie Adler,

470
00:27:20,920 --> 00:27:24,960
Speaker 1: the seemingly elderly and infirm woman, is like hunched over

471
00:27:26,280 --> 00:27:30,760
Speaker 1: her daughter or daughter in law, just doing something horrible

472
00:27:30,920 --> 00:27:35,520
Speaker 1: with strange tentacles coming out of her mouth. Sarah flees

473
00:27:35,600 --> 00:27:39,160
Speaker 1: right into the path of Joel in Tommy's truck. They

474
00:27:39,160 --> 00:27:41,960
Speaker 1: are pulling up clearly like they are very panicked as well.

475
00:27:42,040 --> 00:27:45,280
Speaker 1: Tommy has a fucking rifle out, so he's yeah.

476
00:27:45,680 --> 00:27:49,000
Speaker 2: Joel hits Missus Adler with a massive wrench like, yeah,

477
00:27:49,040 --> 00:27:51,480
Speaker 2: they know something is going down. I think this is

478
00:27:51,520 --> 00:27:55,359
Speaker 2: a really smart When Sarah wakes up, we're talking about

479
00:27:55,359 --> 00:27:57,639
Speaker 2: something that is almost directly taken from the game. That

480
00:27:57,760 --> 00:27:59,399
Speaker 2: is the moment when you were in this is the

481
00:27:59,440 --> 00:28:02,520
Speaker 2: part where this is the part and you're walking around

482
00:28:02,560 --> 00:28:04,199
Speaker 2: the dark house and you're looking for your dad. In

483
00:28:04,240 --> 00:28:06,600
Speaker 2: the game, she's woken up by a phone call from Tommy.

484
00:28:06,640 --> 00:28:09,440
Speaker 2: But I really like this added context that they bring

485
00:28:09,480 --> 00:28:12,000
Speaker 2: to Joel and Tommy's relationship here where the reason Joel

486
00:28:12,080 --> 00:28:13,800
Speaker 2: is out is not because of work, it's because he's

487
00:28:13,800 --> 00:28:16,720
Speaker 2: getting Tommy, and she's woken up just by the general

488
00:28:17,480 --> 00:28:20,600
Speaker 2: chaos of what occurs. But in this moment that she

489
00:28:20,680 --> 00:28:23,480
Speaker 2: gets outside and you see Joel and Tommy come together

490
00:28:24,760 --> 00:28:28,240
Speaker 2: to protect her, you see a different side of that

491
00:28:28,320 --> 00:28:32,479
Speaker 2: brotherly relationship. These two can do anything together, including just

492
00:28:32,520 --> 00:28:36,120
Speaker 2: like absolutely wreck someone like this is not the first

493
00:28:36,119 --> 00:28:37,720
Speaker 2: time they've done that, though, it is the first time

494
00:28:37,720 --> 00:28:39,000
Speaker 2: they've probably done it to his zombie.

495
00:28:39,480 --> 00:28:43,080
Speaker 1: Yeah. Tommy ends up shooting Missus Adler, which is shocking

496
00:28:43,280 --> 00:28:46,960
Speaker 1: to Sarah and certainly shocking to Tommy and Joel, who

497
00:28:47,040 --> 00:28:50,320
Speaker 1: have no idea what is happening. They flee in the truck.

498
00:28:51,480 --> 00:28:53,880
Speaker 1: Various things happen, the truck ends up, and this is

499
00:28:53,880 --> 00:28:56,680
Speaker 1: the part, and this is so this is the part Yeah,

500
00:28:56,720 --> 00:28:58,920
Speaker 1: this is the part of the episode that is like

501
00:28:59,280 --> 00:29:02,680
Speaker 1: ripped almost directly from the game. There's the one shot

502
00:29:02,680 --> 00:29:06,240
Speaker 1: where they're driving up to an intersection and and Tommy

503
00:29:06,320 --> 00:29:08,160
Speaker 1: is saying, what do we doing, Joel, and Joel's like, Okay,

504
00:29:08,160 --> 00:29:09,840
Speaker 1: we're gonna take seventy one, We're gonna get out of town,

505
00:29:10,240 --> 00:29:11,880
Speaker 1: and that it is almost shot.

506
00:29:12,040 --> 00:29:14,760
Speaker 2: Yes, shot, And then when you see and when you

507
00:29:14,760 --> 00:29:18,760
Speaker 2: see Jimmy's house on fire, yeah, that's exactly Jimmy's house.

508
00:29:19,840 --> 00:29:21,520
Speaker 2: And then you get to that moment that we were

509
00:29:21,520 --> 00:29:24,400
Speaker 2: talking about so much on our last Last of Us

510
00:29:24,400 --> 00:29:27,200
Speaker 2: episode where we're talking about the game, where Tommy's trying

511
00:29:27,240 --> 00:29:30,320
Speaker 2: to navigate his way through these crowds of people who

512
00:29:30,320 --> 00:29:32,960
Speaker 2: are trying to survive and Joel is just saying, kill them,

513
00:29:33,080 --> 00:29:35,920
Speaker 2: run them over, don't care to do it.

514
00:29:35,960 --> 00:29:36,720
Speaker 1: We got to do it.

515
00:29:37,040 --> 00:29:39,000
Speaker 2: Same as that moment that we talked about that says

516
00:29:39,040 --> 00:29:41,960
Speaker 2: so much about Joel where he won't help the family

517
00:29:42,480 --> 00:29:45,200
Speaker 2: with the kids. You know that happens in the show.

518
00:29:45,720 --> 00:29:50,760
Speaker 2: It's very interesting and much to the show's credit, how

519
00:29:51,280 --> 00:29:55,719
Speaker 2: well they have managed to cherry pick the moments that

520
00:29:55,800 --> 00:29:58,200
Speaker 2: make you feel like you're directly in the game. Just

521
00:29:58,240 --> 00:30:00,040
Speaker 2: as you might be getting a little bit out of

522
00:30:00,120 --> 00:30:04,720
Speaker 2: the direct canon of the game. They just go boom,

523
00:30:04,920 --> 00:30:07,479
Speaker 2: throw back in to a moment and this is so

524
00:30:07,600 --> 00:30:10,200
Speaker 2: well done, and you get that Sarah shots of her

525
00:30:10,240 --> 00:30:12,640
Speaker 2: looking all around, seeing everything that's going on.

526
00:30:12,640 --> 00:30:15,000
Speaker 1: Play it off her face really wonderfully, and it's a

527
00:30:15,040 --> 00:30:20,440
Speaker 1: testament again how high quality that game is that you

528
00:30:20,520 --> 00:30:24,480
Speaker 1: can scoop an entire scene out and have it be

529
00:30:25,120 --> 00:30:27,480
Speaker 1: you know, Triple A television.

530
00:30:27,040 --> 00:30:29,640
Speaker 2: And they set up something here that I feel like

531
00:30:29,720 --> 00:30:32,880
Speaker 2: really comes through in the car that then is definitely

532
00:30:32,920 --> 00:30:35,680
Speaker 2: brought through to the kind of the next part of

533
00:30:35,720 --> 00:30:39,080
Speaker 2: the show, which is that they begin to start lighting

534
00:30:39,080 --> 00:30:42,040
Speaker 2: it very much like the game in that moment. You

535
00:30:42,160 --> 00:30:45,120
Speaker 2: feel there are moments when you're looking at Nico Parker's

536
00:30:45,120 --> 00:30:49,240
Speaker 2: face and it just feels like you're in that uncanny

537
00:30:49,320 --> 00:30:51,560
Speaker 2: space of being in the game because of the way

538
00:30:51,560 --> 00:30:54,760
Speaker 2: that they light it. And as this kind of continues

539
00:30:54,840 --> 00:30:56,800
Speaker 2: and then you get to that you know, the time

540
00:30:56,880 --> 00:30:59,200
Speaker 2: jumper we're going to get to from then on, there

541
00:30:59,240 --> 00:31:01,240
Speaker 2: are so many moments where if you pause your TV.

542
00:31:01,360 --> 00:31:03,200
Speaker 2: It was like watching Sin City for the first time.

543
00:31:03,200 --> 00:31:05,840
Speaker 2: When I watched that movie, it would pause it and

544
00:31:05,880 --> 00:31:11,600
Speaker 2: it would just look like the comic and this is

545
00:31:11,720 --> 00:31:15,240
Speaker 2: like that, where, especially in this moment and then later

546
00:31:15,280 --> 00:31:17,200
Speaker 2: when Joel and Test begin to kind of go around

547
00:31:17,560 --> 00:31:20,320
Speaker 2: and look around the quarantine zone. There are so many

548
00:31:20,320 --> 00:31:22,640
Speaker 2: moments where if you pause them, you're like, is it

549
00:31:22,680 --> 00:31:24,360
Speaker 2: just from the game? Is it just from the game.

550
00:31:24,360 --> 00:31:26,120
Speaker 2: They're so good at building the me's un scene in

551
00:31:26,160 --> 00:31:29,240
Speaker 2: the cinematography and then adding this kind of lighting and

552
00:31:29,320 --> 00:31:32,120
Speaker 2: I'm sure filters that make you feel like it without

553
00:31:32,160 --> 00:31:34,360
Speaker 2: it ever feeling too much.

554
00:31:35,120 --> 00:31:40,280
Speaker 1: Yeah, so you know that it unfolds slightly differently. If

555
00:31:40,320 --> 00:31:44,320
Speaker 1: we get a big plane crash that is what causes

556
00:31:44,360 --> 00:31:48,720
Speaker 1: the Tommy's truck to wreck, Joel and Sarah are separated

557
00:31:48,760 --> 00:31:52,560
Speaker 1: from Tommy. Sarah is injured, Joel has to carry her.

558
00:31:53,480 --> 00:31:56,840
Speaker 1: Chased by infected, they rush down to the riverside where

559
00:31:56,880 --> 00:31:59,040
Speaker 1: they all agreed they would they would meet Uncle Tommy

560
00:31:59,040 --> 00:32:03,520
Speaker 1: there and a gunshot rings out taking down the infected

561
00:32:03,600 --> 00:32:05,840
Speaker 1: that's chasing Joel and Sarah and it's a soldier. And

562
00:32:05,920 --> 00:32:08,920
Speaker 1: here is the moment again almost played directly from the game,

563
00:32:08,960 --> 00:32:15,600
Speaker 1: where you know, Joel and carrying Sarah like we're not sick,

564
00:32:16,480 --> 00:32:19,720
Speaker 1: we need help, and the soldiers like, no, don't move,

565
00:32:20,440 --> 00:32:23,320
Speaker 1: and then radios for confirmation about what to do. And

566
00:32:23,400 --> 00:32:26,800
Speaker 1: I thought this was whoever this voice actor is great

567
00:32:26,840 --> 00:32:29,600
Speaker 1: performance from this person because you get a little bit

568
00:32:29,640 --> 00:32:33,720
Speaker 1: more of the When the soldier gets the order and goes,

569
00:32:34,320 --> 00:32:37,600
Speaker 1: I'm sorry, could you say that again? You at least

570
00:32:37,680 --> 00:32:41,200
Speaker 1: feel like, Okay, this is really fucked up, and everybody

571
00:32:41,280 --> 00:32:44,640
Speaker 1: understands how fucked up this is. But also a testament

572
00:32:44,680 --> 00:32:48,400
Speaker 1: to how really dire this situation is that the only

573
00:32:48,440 --> 00:32:51,160
Speaker 1: thing that anybody can come up with is don't let

574
00:32:51,200 --> 00:32:54,080
Speaker 1: this infection spread by any means necessary. You take people down.

575
00:32:54,520 --> 00:32:57,640
Speaker 1: And so gunshots, you know, the soldier opens fire. Joel

576
00:32:57,720 --> 00:33:02,640
Speaker 1: is grazed, but of course Sarah is mortally wounded. Tommy

577
00:33:02,680 --> 00:33:08,000
Speaker 1: shoots the soldier and we get a really heartrending scene

578
00:33:08,040 --> 00:33:12,280
Speaker 1: of Sarah expiring in Joel's ars almost before and this

579
00:33:12,360 --> 00:33:16,160
Speaker 1: is another great, another great little moment. She dies and

580
00:33:16,240 --> 00:33:20,120
Speaker 1: he misses it. Yeah, he's like he looks away and

581
00:33:20,240 --> 00:33:23,920
Speaker 1: he doesn't see it. And it's such a microcosm of

582
00:33:23,960 --> 00:33:25,320
Speaker 1: their relationship exactly.

583
00:33:25,360 --> 00:33:27,800
Speaker 2: And the thing that I love again, if we're talking

584
00:33:27,800 --> 00:33:32,480
Speaker 2: about like character beats in moments, Look, Tommy might be

585
00:33:32,520 --> 00:33:35,000
Speaker 2: the fuck up, but at every point, it is Tommy

586
00:33:35,040 --> 00:33:37,920
Speaker 2: who is coming in clutch. At the last minute, Tommy's

587
00:33:37,920 --> 00:33:40,320
Speaker 2: the one who shoots the soldier. The soldier is about

588
00:33:40,320 --> 00:33:43,920
Speaker 2: to shoot Joel just in the face. Tommy shoots him,

589
00:33:44,280 --> 00:33:48,240
Speaker 2: and then it's Tommy who notices that Sarah dies. Yeah,

590
00:33:48,240 --> 00:33:51,400
Speaker 2: but it's Joel who's holding her. Joel's just he's trying

591
00:33:51,440 --> 00:33:53,120
Speaker 2: to get her up. He's gonna save her. It's gonna

592
00:33:53,120 --> 00:33:55,560
Speaker 2: be okay, and she's on his shoulder and he misses it.

593
00:33:55,600 --> 00:33:59,400
Speaker 2: But Tommy sees just so many interesting that could seem

594
00:33:59,480 --> 00:34:02,720
Speaker 2: like I do have so that you know, Joel doesn't die,

595
00:34:02,760 --> 00:34:05,040
Speaker 2: but it never reads like that. It just says, these

596
00:34:05,040 --> 00:34:07,680
Speaker 2: are this brother's relationship and it is extremely fucked up,

597
00:34:08,160 --> 00:34:09,880
Speaker 2: but this is just how it's always been. And in

598
00:34:09,880 --> 00:34:14,480
Speaker 2: that moment again, like you said, Joel misses this huge moment.

599
00:34:14,600 --> 00:34:16,600
Speaker 2: It's that it's the note from the game. You know,

600
00:34:17,160 --> 00:34:20,640
Speaker 2: it's be back later, dad, without the love. It's all

601
00:34:20,680 --> 00:34:24,359
Speaker 2: the little things he did that didn't that are going

602
00:34:24,400 --> 00:34:27,840
Speaker 2: to haunt him after Sarah's untimely death. Just huge. Just

603
00:34:27,920 --> 00:34:28,960
Speaker 2: shout out to Nico Parker.

604
00:34:29,400 --> 00:34:30,840
Speaker 1: Yeah, a cool detail.

605
00:34:31,040 --> 00:34:36,520
Speaker 2: I'm like, please please bash flashbacks like she is so brilliant,

606
00:34:36,760 --> 00:34:37,960
Speaker 2: So yeah, I would love to see it.

607
00:34:38,440 --> 00:34:48,439
Speaker 1: X ray Vision will be back, and we're back. We

608
00:34:48,600 --> 00:34:52,160
Speaker 1: jumped to Boston twenty years later, twenty twenty three. A

609
00:34:52,239 --> 00:34:55,600
Speaker 1: young boy in what we are going to discover is

610
00:34:55,840 --> 00:34:59,240
Speaker 1: kind of mid stages of infection, staggers to the gates

611
00:34:59,280 --> 00:35:02,600
Speaker 1: of the Uarantine Zone formerly Boston's North End, one of

612
00:35:03,160 --> 00:35:08,680
Speaker 1: several areas run by the FEDRA authorities what's left essentially

613
00:35:08,719 --> 00:35:13,840
Speaker 1: of the US government, and after some very cursory tests,

614
00:35:14,280 --> 00:35:16,879
Speaker 1: I mean, it's clear by looking at the kid, they

615
00:35:16,880 --> 00:35:19,680
Speaker 1: show a sign about like the timeline of infection, which

616
00:35:19,719 --> 00:35:22,319
Speaker 1: is basically, you're infected and then a day later you

617
00:35:22,400 --> 00:35:25,840
Speaker 1: are a full on, raving zombie. And there are various

618
00:35:25,840 --> 00:35:28,440
Speaker 1: stages along the way where you can tell by tremors

619
00:35:28,440 --> 00:35:31,560
Speaker 1: in the limbs and etc. And it's clear that this

620
00:35:31,640 --> 00:35:35,080
Speaker 1: boy is in the throes of this, and a soldier, Nils,

621
00:35:35,080 --> 00:35:38,200
Speaker 1: tells him some you know, wonderful platitudes and then they

622
00:35:38,200 --> 00:35:41,400
Speaker 1: inject him with some killing serum and bye bye.

623
00:35:41,640 --> 00:35:47,360
Speaker 2: I was absolutely just flabbergasted, is the only word. Yeah,

624
00:35:47,440 --> 00:35:50,120
Speaker 2: that is like the only word. How do you follow

625
00:35:50,200 --> 00:35:53,040
Speaker 2: the Sarah Cold open, which is we've talked about everyone's

626
00:35:53,040 --> 00:35:54,960
Speaker 2: talked about one of the best cold opens of all time.

627
00:35:55,280 --> 00:35:59,600
Speaker 2: How do you follow something that heartbreaking with this double

628
00:35:59,680 --> 00:36:03,400
Speaker 2: gut punch of one of the most horrific It's it's

629
00:36:03,480 --> 00:36:07,080
Speaker 2: so sad and it's so well done. Like you said,

630
00:36:07,120 --> 00:36:09,239
Speaker 2: you know this soldier, this kind of federate agent who

631
00:36:09,239 --> 00:36:12,400
Speaker 2: seems to be like part cop fuck part kind of soldier.

632
00:36:12,680 --> 00:36:14,879
Speaker 2: You know, we see this test and it goes red.

633
00:36:14,920 --> 00:36:17,360
Speaker 2: You know, red is bad, green is safe, Red is danger.

634
00:36:17,920 --> 00:36:20,359
Speaker 2: And she stands and she says, you know, once you're better,

635
00:36:20,400 --> 00:36:23,520
Speaker 2: we're gonna get you all these toys. What's your favorite food,

636
00:36:23,560 --> 00:36:25,960
Speaker 2: You're gonna be able to eat it. Don't worry. He's

637
00:36:26,000 --> 00:36:30,600
Speaker 2: just given you an injection. Medicine's medicine, and then you know, boom,

638
00:36:30,600 --> 00:36:32,040
Speaker 2: he's just a dead body in the back of the

639
00:36:32,120 --> 00:36:36,279
Speaker 2: van about to get burnt. I mean, that was that

640
00:36:36,480 --> 00:36:40,480
Speaker 2: to me, was the kind of grim and gritty, like

641
00:36:41,200 --> 00:36:47,080
Speaker 2: bleak reality of the apocalypse, this kind of post apocalyptic

642
00:36:47,120 --> 00:36:50,120
Speaker 2: world that the Walking Dead often strove for, but it

643
00:36:50,200 --> 00:36:52,400
Speaker 2: was very rare that they would hit it in that

644
00:36:52,440 --> 00:36:54,799
Speaker 2: way emotionally to me, And I just thought that was

645
00:36:55,520 --> 00:36:59,480
Speaker 2: so well done and just absolutely horrible.

646
00:37:00,120 --> 00:37:03,400
Speaker 1: Not to make this a Walking Dead criticism fest. But

647
00:37:04,600 --> 00:37:08,000
Speaker 1: you can't help in that moment where the boy comes

648
00:37:08,040 --> 00:37:10,360
Speaker 1: to the top of a rise and you see Boston

649
00:37:10,400 --> 00:37:13,400
Speaker 1: spread up before him, to not make the comparison. I

650
00:37:13,840 --> 00:37:16,800
Speaker 1: it in my mind immediately flash back to the Walking

651
00:37:16,800 --> 00:37:19,120
Speaker 1: Dead television show, of course, and I thought, the one

652
00:37:19,200 --> 00:37:23,960
Speaker 1: detail there, it's small again, but it's so good, and

653
00:37:24,040 --> 00:37:26,840
Speaker 1: shouts to the production designers and the wardrobe people. His

654
00:37:27,040 --> 00:37:31,200
Speaker 1: taped up shoes. Yeah, we're not making new shoes, you know.

655
00:37:31,719 --> 00:37:36,040
Speaker 1: And so here are these like scavenged pair of basketball

656
00:37:36,080 --> 00:37:40,480
Speaker 1: shoes with the soles taped to the upper using packing

657
00:37:40,520 --> 00:37:42,319
Speaker 1: tape that he's shuffling forward in.

658
00:37:42,760 --> 00:37:45,600
Speaker 2: And then like, you know, that was such an intentional

659
00:37:46,400 --> 00:37:49,920
Speaker 2: choice that like super produced. A soldier said, when we

660
00:37:50,000 --> 00:37:53,560
Speaker 2: see his body, the shoes are the thing that let

661
00:37:53,640 --> 00:37:56,080
Speaker 2: us know it's the kid. It's like the size of

662
00:37:56,080 --> 00:37:58,480
Speaker 2: his body, his red T shirt. But those shoes, that's

663
00:37:58,520 --> 00:38:00,680
Speaker 2: when you really know, like, oh, they just they murdered

664
00:38:00,719 --> 00:38:01,200
Speaker 2: that kid.

665
00:38:01,800 --> 00:38:05,160
Speaker 1: Yeah, so after we and honestly, what choices they have.

666
00:38:05,320 --> 00:38:05,920
Speaker 1: I don't know.

667
00:38:07,440 --> 00:38:11,279
Speaker 2: It's a complex conversation, but let's let's put a pin

668
00:38:11,320 --> 00:38:14,880
Speaker 2: in it. Slash. Let's remember this moment because this is

669
00:38:14,960 --> 00:38:16,680
Speaker 2: a this is a moment that this is.

670
00:38:16,640 --> 00:38:19,600
Speaker 1: The central conversation of the central conversation.

671
00:38:19,160 --> 00:38:22,319
Speaker 2: Of this show. Who decides who gets to live and

672
00:38:22,360 --> 00:38:27,240
Speaker 2: die in a zombie apocalypse? Is this virus a dangerous

673
00:38:27,560 --> 00:38:30,080
Speaker 2: thing that is killing humans? Yes? But is it also

674
00:38:30,160 --> 00:38:34,279
Speaker 2: an evolutionary part of nature? Is this just kill or

675
00:38:34,280 --> 00:38:36,920
Speaker 2: be killed? Is this Darwinism? And who gets to make

676
00:38:37,000 --> 00:38:40,799
Speaker 2: those decisions? And also, as we'll know when we meet

677
00:38:40,800 --> 00:38:45,759
Speaker 2: Ellie soon, we don't necessarily know how everyone's gonna respond

678
00:38:46,040 --> 00:38:48,759
Speaker 2: to a bike, so they it's a really brutal moment.

679
00:38:48,760 --> 00:38:51,839
Speaker 2: But like you said, this has kept the quarantine zone

680
00:38:52,000 --> 00:38:53,920
Speaker 2: relatively safe for twenty years.

681
00:38:54,360 --> 00:38:58,640
Speaker 1: So when next we see this young boy's body, it's

682
00:38:58,680 --> 00:39:02,600
Speaker 1: it's being carried from a truck by Joel and dropped

683
00:39:02,880 --> 00:39:08,279
Speaker 1: into a fire to incinerate it, along with dozens, it

684
00:39:08,360 --> 00:39:12,400
Speaker 1: seems of other bodies, people who have died from infection

685
00:39:12,520 --> 00:39:16,920
Speaker 1: and from other reasons. And there is Joel. He's now

686
00:39:17,000 --> 00:39:21,680
Speaker 1: fifty six, and this is how he earns his ration cards,

687
00:39:21,719 --> 00:39:26,200
Speaker 1: which are the currency of the quarantine zone. You go out,

688
00:39:26,360 --> 00:39:29,680
Speaker 1: you go out for daily work, whatever needs to be

689
00:39:29,719 --> 00:39:32,399
Speaker 1: done around the quarantine zone, whether it's you know, going

690
00:39:32,400 --> 00:39:34,400
Speaker 1: down on the sewer and cleaning it out or street

691
00:39:34,440 --> 00:39:37,160
Speaker 1: sweeping or what have you. But of course Joel, also

692
00:39:37,880 --> 00:39:42,359
Speaker 1: on the side, has a thriving criminal enterprise with his

693
00:39:43,280 --> 00:39:49,120
Speaker 1: now obviously lover changed from the game, it's only suggested

694
00:39:49,160 --> 00:39:53,439
Speaker 1: that she's his romantic partner with his partner Tess, who

695
00:39:54,160 --> 00:39:58,040
Speaker 1: together they you know, are active in the kind of

696
00:39:58,080 --> 00:40:03,279
Speaker 1: like smuggling networks that keep the QZ going, and that

697
00:40:03,480 --> 00:40:08,520
Speaker 1: clearly happen with the connivance of various members of the

698
00:40:08,640 --> 00:40:14,400
Speaker 1: quarantine zone authorities, as we see later when Joel sells

699
00:40:14,960 --> 00:40:19,239
Speaker 1: some hydro pills manufactured in a FEDERA facility down in

700
00:40:19,280 --> 00:40:25,000
Speaker 1: Atlanta to a guard in exchange for cigarettes and some

701
00:40:25,200 --> 00:40:29,319
Speaker 1: ration cards plus a car battery to be delivered later

702
00:40:29,440 --> 00:40:33,040
Speaker 1: that Joel needs for something we're not sure now. Of course,

703
00:40:33,120 --> 00:40:35,120
Speaker 1: Federa is not the only force in the zone. There's

704
00:40:35,120 --> 00:40:38,719
Speaker 1: also the Fireflies. We see their graffiti all around, and

705
00:40:38,800 --> 00:40:42,840
Speaker 1: they are an armed militia dedicated to where later to

706
00:40:42,880 --> 00:40:46,440
Speaker 1: find out, bring back democracy again. Their aims are kind

707
00:40:46,440 --> 00:40:49,640
Speaker 1: of just like feder is evil and we need to

708
00:40:49,680 --> 00:40:52,920
Speaker 1: overthrow them, and they actually what they're their political agenda

709
00:40:53,040 --> 00:40:56,279
Speaker 1: is hard to pin down. Similarly, but the hints that

710
00:40:56,320 --> 00:40:58,200
Speaker 1: we get are tantalizing.

711
00:40:58,600 --> 00:41:03,440
Speaker 2: Yeah, fed is basically a fascistic dictatorship that is keeping

712
00:41:03,480 --> 00:41:06,880
Speaker 2: the people in these quarantine zones because it's easier for

713
00:41:06,920 --> 00:41:08,440
Speaker 2: them and they can make money off it, and they

714
00:41:08,480 --> 00:41:13,440
Speaker 2: can run their little you know, uh executions, and they

715
00:41:13,520 --> 00:41:18,760
Speaker 2: can run their little you know, smuggling rings and everything.

716
00:41:19,239 --> 00:41:22,440
Speaker 2: And Fireflies are kind of just at this point like

717
00:41:22,480 --> 00:41:26,440
Speaker 2: a general revolutionary militia. Like we know, if you've played

718
00:41:26,440 --> 00:41:28,480
Speaker 2: the game, you know kind of what their main names are.

719
00:41:28,520 --> 00:41:30,440
Speaker 2: But like you said, this idea of kind of a

720
00:41:30,440 --> 00:41:34,719
Speaker 2: generic idea of democracy coming back and the idea that

721
00:41:34,800 --> 00:41:38,840
Speaker 2: there is something that Federer hiding from people.

722
00:41:41,360 --> 00:41:43,560
Speaker 1: The guard later warns Joel to stay off the streets

723
00:41:43,560 --> 00:41:46,680
Speaker 1: because apparently feder is really going to start cracking down

724
00:41:46,800 --> 00:41:52,359
Speaker 1: on the Fireflies very very soon. And the guard essentially says, hey,

725
00:41:52,680 --> 00:41:55,279
Speaker 1: mistakes happen, We're going to just shoot anybody we see,

726
00:41:55,320 --> 00:41:58,359
Speaker 1: so stay off the street. Elsewhere we meet tests, and

727
00:41:58,400 --> 00:42:03,000
Speaker 1: in a great reconfigure of the storytelling from the game,

728
00:42:03,640 --> 00:42:07,919
Speaker 1: test is being held by Robert, who is another one

729
00:42:07,960 --> 00:42:11,279
Speaker 1: of these kind of you know catches, catch can criminals,

730
00:42:11,280 --> 00:42:14,440
Speaker 1: and the QZ zon a smuggler. He's got his henchman,

731
00:42:14,800 --> 00:42:17,719
Speaker 1: uh you know, standing around her. She is sitting on

732
00:42:17,760 --> 00:42:21,000
Speaker 1: a chair, she's got a fresh black eye, clearly bruised up.

733
00:42:21,040 --> 00:42:26,319
Speaker 1: They tuned her up significantly. But the dynamic is fascinating.

734
00:42:26,480 --> 00:42:30,479
Speaker 1: Robert has very clearly ripped Tests off on a deal

735
00:42:30,520 --> 00:42:33,080
Speaker 1: for a car battery not delivered the car battery, you know,

736
00:42:33,160 --> 00:42:37,200
Speaker 1: clearly the one Joel was interested in. But here's the dynamic.

737
00:42:37,760 --> 00:42:42,719
Speaker 1: Robert has Test prisoner, but he's very very obviously frightened

738
00:42:42,760 --> 00:42:49,000
Speaker 1: of her and her retribution, frightened of what tests end. Joel.

739
00:42:49,120 --> 00:42:51,879
Speaker 1: He just says, you know, the person you're with, what

740
00:42:51,960 --> 00:42:55,440
Speaker 1: they might do if they harbor this grudge on this

741
00:42:55,600 --> 00:42:57,920
Speaker 1: on the on the on the deal that he is

742
00:42:58,040 --> 00:43:00,920
Speaker 1: double cross them on. And he's basically saying, okay, Test, listen,

743
00:43:02,239 --> 00:43:05,120
Speaker 1: can we just can you just forgive me that I

744
00:43:05,160 --> 00:43:10,239
Speaker 1: fucked you over? Because just do it please, like walk

745
00:43:10,280 --> 00:43:12,520
Speaker 1: out of here and we're fine. And Tessa is basically like,

746
00:43:12,840 --> 00:43:16,640
Speaker 1: don't worry about it. Yeah, sure, sure, it's fine, listen,

747
00:43:16,719 --> 00:43:20,360
Speaker 1: like you know, and he's like Robert. It's really funny

748
00:43:20,360 --> 00:43:22,160
Speaker 1: because at one point Robert is like, but my guys,

749
00:43:22,200 --> 00:43:24,560
Speaker 1: they beat you up and she's like yeah, but like.

750
00:43:24,560 --> 00:43:27,960
Speaker 2: Just fucking yell it's done, man, it's done.

751
00:43:29,160 --> 00:43:31,640
Speaker 1: Yell at you reprimand them yell at him, like, go

752
00:43:31,760 --> 00:43:33,440
Speaker 1: yell at him right now, you guys.

753
00:43:33,560 --> 00:43:38,480
Speaker 2: Yeah, And you know.

754
00:43:39,400 --> 00:43:41,880
Speaker 1: The discussion, however, is cut short when there is a

755
00:43:41,960 --> 00:43:45,200
Speaker 1: huge explosion that blows out the wall of this dungeon

756
00:43:45,280 --> 00:43:48,280
Speaker 1: that that that Robert is this basement of an apartment

757
00:43:48,320 --> 00:43:53,000
Speaker 1: complex that Robert is holding tests in and this is

758
00:43:54,920 --> 00:43:58,719
Speaker 1: a firefly attack against federal forces. Test escapes but then

759
00:43:58,840 --> 00:44:02,520
Speaker 1: is quickly scooped up by FEDRA and we cut to

760
00:44:02,840 --> 00:44:10,880
Speaker 1: elsewhere for a firefly safe house in which we see

761
00:44:11,040 --> 00:44:14,560
Speaker 1: a young girl chain to a radiator. And this is

762
00:44:14,719 --> 00:44:18,480
Speaker 1: Ellie going under the name of Veronica, you know, trying

763
00:44:18,520 --> 00:44:22,439
Speaker 1: to hide her identity somewhat real name Ellie, but telling

764
00:44:22,440 --> 00:44:25,520
Speaker 1: everybody that her name is Veronica right now. And these

765
00:44:26,120 --> 00:44:29,279
Speaker 1: various people that are coming in are testing her for

766
00:44:29,320 --> 00:44:32,439
Speaker 1: the symptoms of infection. Do you you know count to ten?

767
00:44:33,560 --> 00:44:36,279
Speaker 1: Do you know, put your arm out and hold that

768
00:44:36,400 --> 00:44:41,440
Speaker 1: no tremors her. Her thinking is completely clear. She flips

769
00:44:41,480 --> 00:44:50,600
Speaker 1: them off and it's a really really cool, unexpected introduction

770
00:44:50,800 --> 00:44:53,440
Speaker 1: to one of the main characters of this show, and

771
00:44:53,480 --> 00:44:55,000
Speaker 1: I thought that, you know, the same thing with the

772
00:44:55,400 --> 00:45:00,239
Speaker 1: Tests and Roberts scene, where very very smartly, Mason has

773
00:45:00,239 --> 00:45:03,400
Speaker 1: giving you the beats of the things that happen in

774
00:45:03,440 --> 00:45:06,959
Speaker 1: those first few chapters of the game before you think

775
00:45:06,960 --> 00:45:10,360
Speaker 1: you're gonna get them. The explosion doesn't happen at the checkpoint.

776
00:45:10,360 --> 00:45:13,560
Speaker 1: It happens right there when Robert and Tess are having

777
00:45:13,600 --> 00:45:15,759
Speaker 1: their discussion, and you don't even you know, in the

778
00:45:15,800 --> 00:45:19,160
Speaker 1: game you find Robert at the end of like this

779
00:45:19,280 --> 00:45:22,000
Speaker 1: kind of long string of fights and missions, but you

780
00:45:22,560 --> 00:45:24,720
Speaker 1: get it early, and then here you meet Ellie early.

781
00:45:24,840 --> 00:45:27,279
Speaker 1: It's really really well paced and well done.

782
00:45:27,480 --> 00:45:30,120
Speaker 2: Yeah, I love those. I also love this because we

783
00:45:30,239 --> 00:45:35,279
Speaker 2: know that this is another great sleight of hand. We

784
00:45:35,360 --> 00:45:38,520
Speaker 2: know from playing the game that both Tess and Joel

785
00:45:39,120 --> 00:45:42,320
Speaker 2: are killers. They have to be to survive, and Tess

786
00:45:42,800 --> 00:45:47,799
Speaker 2: especially seems to have a very brutal outlook on what

787
00:45:47,840 --> 00:45:51,080
Speaker 2: you need to do. They do a really smart thing

788
00:45:51,680 --> 00:45:55,480
Speaker 2: where once again they sellb your expectations. Oh, these are

789
00:45:55,520 --> 00:45:58,640
Speaker 2: the heroes, even if they have to do things that

790
00:45:58,719 --> 00:46:01,440
Speaker 2: you know, sell drugs, those things that now we know

791
00:46:01,480 --> 00:46:04,319
Speaker 2: are not some morally wrong things. They're just to do

792
00:46:04,400 --> 00:46:06,680
Speaker 2: with situation. And the way that you live. And this

793
00:46:06,719 --> 00:46:09,200
Speaker 2: is a very interesting exploration of this new economy and

794
00:46:09,239 --> 00:46:11,160
Speaker 2: what people have to do is to survive. But we

795
00:46:11,360 --> 00:46:15,279
Speaker 2: know that when things get going, we're going to see

796
00:46:15,280 --> 00:46:17,160
Speaker 2: this different side of them. And I find that very

797
00:46:17,200 --> 00:46:19,799
Speaker 2: interesting because this is a kind of even after that

798
00:46:20,200 --> 00:46:23,560
Speaker 2: wild opening, this is a very slow burn episode in

799
00:46:23,560 --> 00:46:26,799
Speaker 2: the Quarantine film. This is knowing where things are. That

800
00:46:26,920 --> 00:46:29,840
Speaker 2: explosion that happens. Test just takes that in her stride.

801
00:46:29,920 --> 00:46:32,400
Speaker 2: You know, this is happening a lot like these attacks

802
00:46:32,400 --> 00:46:35,719
Speaker 2: are happening, and it is so interesting just and that

803
00:46:35,800 --> 00:46:38,920
Speaker 2: moment of you know Tests, you know, yeah, yeah, we'll

804
00:46:38,920 --> 00:46:39,960
Speaker 2: talk about in a minute.

805
00:46:40,040 --> 00:46:44,040
Speaker 1: Well, I was just gonna say, yeah, the it's wonderful

806
00:46:44,080 --> 00:46:47,600
Speaker 1: how they set up how deadly Tests and Joel are

807
00:46:47,920 --> 00:46:51,480
Speaker 1: just by Robert being fucking exactly exactly.

808
00:46:51,560 --> 00:46:53,480
Speaker 2: It's so smart. We don't need to do a ten

809
00:46:53,520 --> 00:46:58,040
Speaker 2: minute chasing. We don't need to kill fifty people in

810
00:46:58,080 --> 00:46:59,600
Speaker 2: the first opening of the show.

811
00:46:59,719 --> 00:47:04,360
Speaker 1: That scared. Also, he has this woman in his clutches

812
00:47:04,680 --> 00:47:07,000
Speaker 1: and he's kicked chair and he's scared.

813
00:47:07,760 --> 00:47:09,719
Speaker 2: I will say as well, something I think is very

814
00:47:09,760 --> 00:47:12,319
Speaker 2: smart about this first episode that I think is very

815
00:47:13,160 --> 00:47:18,000
Speaker 2: interesting and quite a brave choice to not focus on

816
00:47:18,080 --> 00:47:22,280
Speaker 2: that POV shoot him up aspect of this game.

817
00:47:22,560 --> 00:47:25,759
Speaker 1: I agree, it goes away from that very consciously in

818
00:47:25,840 --> 00:47:27,920
Speaker 1: various moments when you think it's gonna go to.

819
00:47:27,960 --> 00:47:31,680
Speaker 2: That, and it's very interesting, and then I'm sure you

820
00:47:31,719 --> 00:47:34,280
Speaker 2: know we will get those moments in later episodes because

821
00:47:34,280 --> 00:47:36,360
Speaker 2: this is an apocalypse that is similar to what we

822
00:47:36,360 --> 00:47:38,840
Speaker 2: would know as zombies. It's this Quarter Sceps apocalypse, So

823
00:47:38,880 --> 00:47:40,719
Speaker 2: you're gonna have to kill some monsters, You're probably gonna

824
00:47:40,719 --> 00:47:42,960
Speaker 2: have to kill some soldiers, which we know from what

825
00:47:42,960 --> 00:47:44,800
Speaker 2: we've seen in the opening Joe won't have a problem

826
00:47:44,840 --> 00:47:47,400
Speaker 2: doing because they killed his kid. But I love that

827
00:47:47,600 --> 00:47:50,719
Speaker 2: instead of it going straight there, which I have to

828
00:47:50,760 --> 00:47:54,080
Speaker 2: say so many action games, that is often the focus

829
00:47:54,200 --> 00:47:56,520
Speaker 2: of the adaptations that we've seen in live action, which

830
00:47:56,560 --> 00:47:58,760
Speaker 2: I think can be part of the problem, and instead

831
00:47:58,760 --> 00:48:03,319
Speaker 2: we get this ultimate world building that brings in the

832
00:48:03,440 --> 00:48:07,680
Speaker 2: characters early on Ellie test Robert in new ways. But

833
00:48:07,760 --> 00:48:10,040
Speaker 2: that still feels very much in line with what we

834
00:48:10,200 --> 00:48:11,880
Speaker 2: love about this game.

835
00:48:12,239 --> 00:48:15,760
Speaker 1: Yes, it's so good. We see Joel skipping a huge

836
00:48:15,880 --> 00:48:21,160
Speaker 1: line of people waiting to go sit down with a

837
00:48:21,239 --> 00:48:24,880
Speaker 1: Ham radio operator, which is apparently the only means of

838
00:48:24,920 --> 00:48:29,799
Speaker 1: communicating beyond the walls of a really really wonderful bit

839
00:48:29,800 --> 00:48:32,680
Speaker 1: of world being Hey, you're skipping the line, but nobody

840
00:48:33,680 --> 00:48:37,719
Speaker 1: does want nobody wants to step up to Joel is

841
00:48:37,800 --> 00:48:40,520
Speaker 1: clear that he just has a very very dangerous aspect.

842
00:48:40,600 --> 00:48:43,480
Speaker 1: He sits down with the operator, who clearly knows him

843
00:48:43,520 --> 00:48:45,719
Speaker 1: and has talked to him quite a bit. The cigarettes

844
00:48:45,760 --> 00:48:48,759
Speaker 1: that he bartered for are for this guy, and the

845
00:48:48,800 --> 00:48:54,920
Speaker 1: guy basically says, hey, nothing, no messages from Tommy. I'm sorry.

846
00:48:55,360 --> 00:48:58,040
Speaker 1: I've been sitting here when I'm not sitting here. My

847
00:48:58,080 --> 00:49:01,400
Speaker 1: wife is sitting here, wife sitting here, my son is

848
00:49:01,440 --> 00:49:03,879
Speaker 1: sitting here, and not the stupid one, the smart one

849
00:49:03,960 --> 00:49:07,680
Speaker 1: is sitting here, and there's been no messages at all.

850
00:49:09,040 --> 00:49:13,960
Speaker 1: And the operator pinpoints for Joel the last known position

851
00:49:14,040 --> 00:49:16,320
Speaker 1: that Tommy had, which was this radio tower that was

852
00:49:16,360 --> 00:49:18,560
Speaker 1: communicating with Boston, and it's all the way out in

853
00:49:18,680 --> 00:49:21,360
Speaker 1: fucking Wyoming, and Joel's like, great, I'm going there. I

854
00:49:21,360 --> 00:49:23,160
Speaker 1: guess I don't have to go there and find out

855
00:49:23,200 --> 00:49:25,719
Speaker 1: what happened to Tommy. And the operator is like, no, no, no, no, Joel,

856
00:49:26,600 --> 00:49:32,080
Speaker 1: what it's three the way yeah, across the country. And

857
00:49:32,360 --> 00:49:35,719
Speaker 1: he says the thing that is, you know, the the

858
00:49:36,239 --> 00:49:40,359
Speaker 1: basic thesis of every single zombie story. There are worse

859
00:49:40,400 --> 00:49:43,960
Speaker 1: things out there than the infected. And it's us. It's slavers,

860
00:49:44,239 --> 00:49:50,680
Speaker 1: it's raiders, it's the various depraved human beings that, either

861
00:49:50,760 --> 00:49:55,280
Speaker 1: because of their own needs for survival or because any

862
00:49:55,360 --> 00:49:58,879
Speaker 1: kind of societal check on their depravity has been removed

863
00:49:59,280 --> 00:50:02,040
Speaker 1: currently run things in those wastelands out there, don't go.

864
00:50:02,080 --> 00:50:04,279
Speaker 1: And Joel's like, well, I think I'm gonna go. So

865
00:50:04,480 --> 00:50:07,960
Speaker 1: he goes home. He goes to a hiding place and

866
00:50:08,040 --> 00:50:11,600
Speaker 1: takes out his map and a crowbar and an axe,

867
00:50:11,600 --> 00:50:15,320
Speaker 1: some various weaponry that he needs. There's a great moment

868
00:50:15,320 --> 00:50:19,400
Speaker 1: where the camera switches from Joel kneeling at his hiding

869
00:50:19,440 --> 00:50:21,960
Speaker 1: spot to the bed, and then it pans down and

870
00:50:22,000 --> 00:50:26,399
Speaker 1: you see that the bed is on cinderblocks, and it's

871
00:50:26,440 --> 00:50:30,400
Speaker 1: a really cool small moment where it's telling you that

872
00:50:30,680 --> 00:50:34,480
Speaker 1: all kind of steel that can be repurposed for weapons

873
00:50:34,600 --> 00:50:38,080
Speaker 1: or anything like hard metal has been scavenged from this.

874
00:50:38,440 --> 00:50:43,200
Speaker 1: It's gone. It's gone. Joel has certainly repurposed that stuff himself.

875
00:50:43,560 --> 00:50:47,279
Speaker 1: And then Joel downs a bunch of oxy and a

876
00:50:47,320 --> 00:50:51,160
Speaker 1: bunch of zone alcohol and he passes out and I'm like, Joel, man,

877
00:50:51,719 --> 00:50:53,920
Speaker 1: you're fifty six, bro, you.

878
00:50:53,960 --> 00:50:55,399
Speaker 2: Need take a break.

879
00:50:55,400 --> 00:50:58,879
Speaker 1: You need to slow it down. Please. When he wakes

880
00:50:58,960 --> 00:51:03,480
Speaker 1: up Tests there, he sees her injuries and he's alarmed.

881
00:51:03,960 --> 00:51:08,480
Speaker 1: She lies to him about some of the details about

882
00:51:08,480 --> 00:51:10,680
Speaker 1: what happened, but then tells him, hey, I was also

883
00:51:10,680 --> 00:51:16,200
Speaker 1: locked up by by Fedra and then says, okay, now

884
00:51:16,480 --> 00:51:20,879
Speaker 1: here is the thing that happened, and basically tells him that, yeah,

885
00:51:21,000 --> 00:51:26,320
Speaker 1: Robert double crossed us for the battery, which means no truck,

886
00:51:26,680 --> 00:51:31,279
Speaker 1: which means no going to get Tommy. And Joel is

887
00:51:31,600 --> 00:51:35,719
Speaker 1: fucking irate. But Tess and here you're getting a wonderful

888
00:51:35,920 --> 00:51:38,480
Speaker 1: understanding of their interplay, and it's a good subversion of

889
00:51:38,520 --> 00:51:43,279
Speaker 1: the game, in which Tests is the psychomaniac killing everybody.

890
00:51:43,360 --> 00:51:46,640
Speaker 1: Here is Tess being like, whoa, whoa, whoa, Joel, calm down.

891
00:51:47,600 --> 00:51:53,000
Speaker 1: If you walk out of here half cocked looking for Robert,

892
00:51:53,360 --> 00:51:56,160
Speaker 1: he's terrified of you. He is going to freak out

893
00:51:56,360 --> 00:51:58,160
Speaker 1: and he is going to flee and we're never going

894
00:51:58,200 --> 00:52:02,960
Speaker 1: to fucking find him. So to cool down, act like

895
00:52:03,160 --> 00:52:07,399
Speaker 1: nothing is wrong, nothing is bothering you. So that we

896
00:52:07,480 --> 00:52:10,400
Speaker 1: can find out where Robert is and we can fucking

897
00:52:10,520 --> 00:52:11,000
Speaker 1: kill him.

898
00:52:11,600 --> 00:52:11,759
Speaker 2: Uh.

899
00:52:11,800 --> 00:52:14,560
Speaker 1: And it's again a wonderful kind of subversion of the

900
00:52:14,600 --> 00:52:17,279
Speaker 1: test character where she's kind of like the headier one

901
00:52:17,400 --> 00:52:19,280
Speaker 1: but also a killer, still a killer.

902
00:52:19,400 --> 00:52:22,680
Speaker 2: I love that she like you. It starts at this

903
00:52:22,760 --> 00:52:25,000
Speaker 2: really tender moment where she gets into the bed and

904
00:52:25,040 --> 00:52:27,160
Speaker 2: like Spoon and Sam and you kind of see this

905
00:52:27,239 --> 00:52:29,839
Speaker 2: cuddle and then they just quickly get to that talk

906
00:52:29,880 --> 00:52:35,360
Speaker 2: about it. That's the that's the pillow talk in the house.

907
00:52:35,440 --> 00:52:39,359
Speaker 1: Yeah. We go back to the safe house and we

908
00:52:39,400 --> 00:52:45,600
Speaker 1: meet Marlene, the Firefly leader uh, played by Merle Dandridge, who,

909
00:52:45,680 --> 00:52:51,440
Speaker 1: by the way, the same voice actor and and uh,

910
00:52:51,600 --> 00:52:55,040
Speaker 1: you know mocap actor from the game. So really cool moment.

911
00:52:55,080 --> 00:53:00,480
Speaker 1: They yeah. Yeah, she gets some very very tough questions

912
00:53:00,480 --> 00:53:03,320
Speaker 1: thrown at her by her lieutenant Kim. Why are we

913
00:53:03,360 --> 00:53:07,080
Speaker 1: attacking the Feds for no reason? This is pointless, you know,

914
00:53:07,160 --> 00:53:10,200
Speaker 1: like why is there a random girl chain to a

915
00:53:10,360 --> 00:53:13,160
Speaker 1: radiator in there? Marley is like, Okay, everybody, get out

916
00:53:13,160 --> 00:53:15,080
Speaker 1: of the fucking room. And then she tells Kim that

917
00:53:16,520 --> 00:53:20,000
Speaker 1: the attacks on Federa are to lure Federer away from

918
00:53:20,000 --> 00:53:21,640
Speaker 1: the safe house. That they are at right now. They're

919
00:53:21,640 --> 00:53:25,879
Speaker 1: happening all over the zone but not here. And secondarily,

920
00:53:26,800 --> 00:53:28,640
Speaker 1: the girl is important and here's why. And then she

921
00:53:28,760 --> 00:53:32,960
Speaker 1: hands Kim a note that was I guess sent from

922
00:53:33,760 --> 00:53:37,799
Speaker 1: another firefly safe house, not in the zone, but like

923
00:53:37,960 --> 00:53:41,880
Speaker 1: across the state, which we're gonna guess right now, is

924
00:53:41,920 --> 00:53:44,359
Speaker 1: like some sort of laboratory, you know, like there are

925
00:53:44,400 --> 00:53:46,080
Speaker 1: scientists involved with the fireflies.

926
00:53:46,160 --> 00:53:51,120
Speaker 2: There's somewhere there's a lab where people are moving towards

927
00:53:51,200 --> 00:53:53,880
Speaker 2: this idea of a cure. But then not feder people

928
00:53:53,960 --> 00:53:55,880
Speaker 2: that fireflies.

929
00:53:55,719 --> 00:53:59,120
Speaker 1: Right, and so whatever is in that note, it's clearly

930
00:53:59,160 --> 00:54:02,080
Speaker 1: big because him is like, oh shit, whatever you need,

931
00:54:02,320 --> 00:54:05,880
Speaker 1: like I get it now, Like we'll do it elsewhere.

932
00:54:06,000 --> 00:54:10,640
Speaker 1: Tess gets the location for Robert's battery deal and it's

933
00:54:10,719 --> 00:54:14,840
Speaker 1: a building that they remember and they know how to

934
00:54:14,880 --> 00:54:18,440
Speaker 1: get to, is accessible via the subway tunnels. Back at

935
00:54:18,480 --> 00:54:22,200
Speaker 1: the safehouse, Marlene gives quote unquote Veronica, who we knew

936
00:54:22,280 --> 00:54:24,960
Speaker 1: was Ellie her pack back. Here's this wonderful peace offering. Right.

937
00:54:25,000 --> 00:54:29,840
Speaker 1: The pack contains her switchblade, which Ellie eagerly leaps to,

938
00:54:30,239 --> 00:54:33,759
Speaker 1: gets it right in her hand, telling you this is

939
00:54:33,800 --> 00:54:35,560
Speaker 1: what this world is. This is a girl that knows

940
00:54:35,600 --> 00:54:36,880
Speaker 1: nothing other than.

941
00:54:36,800 --> 00:54:38,480
Speaker 2: This literally grew up.

942
00:54:38,960 --> 00:54:39,279
Speaker 1: This is.

943
00:54:40,920 --> 00:54:42,239
Speaker 2: This, well, this is it.

944
00:54:43,800 --> 00:54:50,000
Speaker 1: And Marlene then explains to Ellie that it was she

945
00:54:51,000 --> 00:54:56,319
Speaker 1: that placed Ellie at the Fedra Military Academy, basically an

946
00:54:56,400 --> 00:54:59,880
Speaker 1: orphanage where they train kids to eventually be federal soldiers

947
00:55:00,120 --> 00:55:03,839
Speaker 1: slash cops all those years ago. And this brings up

948
00:55:04,239 --> 00:55:08,360
Speaker 1: some really really fascinating questions like is Marlene ex Federa

949
00:55:08,480 --> 00:55:10,239
Speaker 1: or the Fireflies ex fed Yeah?

950
00:55:10,320 --> 00:55:11,000
Speaker 2: Yeah, exactly?

951
00:55:11,280 --> 00:55:11,480
Speaker 1: Yeah?

952
00:55:11,520 --> 00:55:14,640
Speaker 2: Are they a breakoff group of a Federa that was

953
00:55:14,640 --> 00:55:17,080
Speaker 2: trying to find a cure and then feder kind of

954
00:55:17,200 --> 00:55:21,000
Speaker 2: went corrupt and changed and changed, so they broke off?

955
00:55:22,040 --> 00:55:29,800
Speaker 1: And has have the Fireflies been earmarking kids for something

956
00:55:29,880 --> 00:55:32,479
Speaker 1: like this? Suggestion that they are involved in some way

957
00:55:32,560 --> 00:55:36,359
Speaker 1: in Ellie's life from the very beginning is fascinating and

958
00:55:36,560 --> 00:55:39,600
Speaker 1: it feels like a thread that we're gonna unschool more

959
00:55:39,640 --> 00:55:46,279
Speaker 1: and more like is is this firefly mission towards a cure? Has?

960
00:55:46,360 --> 00:55:50,400
Speaker 1: Is it more planned out than this seemingly ad hoc Oh,

961
00:55:50,480 --> 00:55:52,560
Speaker 1: we found this girl and now we we need to

962
00:55:52,600 --> 00:55:55,200
Speaker 1: move her someplace? Is there a plan that has been

963
00:55:55,280 --> 00:55:57,919
Speaker 1: kind of in motion for a while? It suggested here

964
00:55:57,920 --> 00:55:59,000
Speaker 1: and it's fascinating.

965
00:55:59,239 --> 00:56:03,760
Speaker 2: I think that's a really important thing to note, especially

966
00:56:03,800 --> 00:56:08,080
Speaker 2: because this is a very interesting addition. Again, I will

967
00:56:08,120 --> 00:56:10,120
Speaker 2: point people towards the girl with all the gifts that

968
00:56:10,160 --> 00:56:14,400
Speaker 2: came out kind of contemporary to this. This sounds almost

969
00:56:14,640 --> 00:56:19,000
Speaker 2: directly inspired by the setup of that book, where we

970
00:56:19,040 --> 00:56:21,160
Speaker 2: meet a bunch of kids in a school classroom who

971
00:56:21,160 --> 00:56:23,279
Speaker 2: are being taught in a kind of military school, and

972
00:56:23,320 --> 00:56:25,759
Speaker 2: then you come to learn something about them. So I

973
00:56:25,840 --> 00:56:30,120
Speaker 2: love this. I think, as we know where this is

974
00:56:30,160 --> 00:56:32,640
Speaker 2: going because we played the game, and the game is

975
00:56:32,800 --> 00:56:37,400
Speaker 2: heartbreaking and amazing, are we very interested to see what

976
00:56:37,480 --> 00:56:40,240
Speaker 2: the implications of this are because they could be really

977
00:56:40,280 --> 00:56:43,560
Speaker 2: really massive, and they could also either add to or

978
00:56:43,600 --> 00:56:44,759
Speaker 2: take away a little bit from that.

979
00:56:45,000 --> 00:56:48,239
Speaker 1: Yeah, it's it's a dangerous play for sure.

980
00:56:48,360 --> 00:56:50,960
Speaker 2: Yeah, so I'm very interested, but I'm excited to see it,

981
00:56:51,040 --> 00:56:55,719
Speaker 2: especially because Marlene is so great just in this week.

982
00:56:55,760 --> 00:56:57,520
Speaker 2: This is like really the first time we've gotten to

983
00:56:57,600 --> 00:57:00,760
Speaker 2: meet her, and you really get that connection between Ellie

984
00:57:00,960 --> 00:57:02,799
Speaker 2: and I want to know more. I want to know

985
00:57:02,840 --> 00:57:05,160
Speaker 2: if they were picking kids, if there was some kind

986
00:57:05,160 --> 00:57:07,520
Speaker 2: of study they did, some kind of DNA that they

987
00:57:07,560 --> 00:57:10,040
Speaker 2: were looking for it's very interesting.

988
00:57:10,480 --> 00:57:13,560
Speaker 1: We get to mention here from Marlene of Riley, who

989
00:57:13,640 --> 00:57:17,000
Speaker 1: is a character from the Last of US DLC and

990
00:57:17,040 --> 00:57:19,520
Speaker 1: who we know from that game had a very close

991
00:57:19,560 --> 00:57:24,800
Speaker 1: relationship with Ellie, and it's very clear that Riley has

992
00:57:24,960 --> 00:57:28,680
Speaker 1: has died somehow. Marlene is using Riley's example to say, hey,

993
00:57:29,120 --> 00:57:32,360
Speaker 1: was Riley a terrorist? Because you know Ellie' is like, oh,

994
00:57:32,400 --> 00:57:34,920
Speaker 1: the firefly terrorist. She's like, what was Riley a terrorists? Like,

995
00:57:35,200 --> 00:57:39,640
Speaker 1: we're not terrorists, and then she later tells Ellie the

996
00:57:39,760 --> 00:57:44,200
Speaker 1: reason for all this trouble. Ellie is the only known

997
00:57:44,320 --> 00:57:48,160
Speaker 1: person who has been infected with the Cordysps fungus who

998
00:57:49,440 --> 00:57:53,000
Speaker 1: has not become a zombie, did not fall ill, is

999
00:57:53,080 --> 00:57:59,360
Speaker 1: seemingly immune. Huge huge deal Elsewhere Tess and Joel or

1000
00:57:59,400 --> 00:58:03,080
Speaker 1: in the subway tounnels, where we see what happens to

1001
00:58:03,120 --> 00:58:06,520
Speaker 1: you after the kind of zombie phase of the cordyceeps

1002
00:58:06,560 --> 00:58:08,760
Speaker 1: infection has run its course. You basically just turn into

1003
00:58:08,800 --> 00:58:13,920
Speaker 1: a mushroom, a disgusting mushroom that explodes out of your

1004
00:58:13,920 --> 00:58:19,000
Speaker 1: body and glues you to whatever surface your corpse happened

1005
00:58:19,040 --> 00:58:23,480
Speaker 1: to explode next to. It's this very body horror thing again.

1006
00:58:23,520 --> 00:58:27,160
Speaker 1: This very aliens alien kind of like look of being

1007
00:58:27,280 --> 00:58:32,600
Speaker 1: like molded into a surface and it's super super gross.

1008
00:58:32,920 --> 00:58:37,160
Speaker 1: And notably Tess hard Ass is terrible, like is jump

1009
00:58:37,240 --> 00:58:38,600
Speaker 1: scared when she sees it.

1010
00:58:38,720 --> 00:58:43,960
Speaker 2: She is jump scared. It's it lets you know that

1011
00:58:44,120 --> 00:58:46,880
Speaker 2: even within the quarantine zone, where these people are battle

1012
00:58:46,920 --> 00:58:49,919
Speaker 2: hardened for twenty years, there are things that can shock them.

1013
00:58:50,120 --> 00:58:53,240
Speaker 2: There are things that being chilled to kill a man

1014
00:58:53,880 --> 00:58:56,240
Speaker 2: for some pills, that's not going to stop you being

1015
00:58:56,240 --> 00:58:59,160
Speaker 2: scared by the fact that there is a nightmarish mushroom

1016
00:58:59,200 --> 00:59:02,000
Speaker 2: fungus that could take you and turn you into a

1017
00:59:02,040 --> 00:59:06,479
Speaker 2: wall decoration. You know. It's it's terrific. And I love

1018
00:59:06,520 --> 00:59:08,720
Speaker 2: this because I also think it leans in again to

1019
00:59:08,800 --> 00:59:10,600
Speaker 2: that question that we talk about, which is like this

1020
00:59:11,360 --> 00:59:13,440
Speaker 2: nature evolution, Like.

1021
00:59:13,720 --> 00:59:19,160
Speaker 1: Yeah, this is also this scene great addition by subtraction.

1022
00:59:19,240 --> 00:59:21,360
Speaker 1: So in the game here, this is your first encounter

1023
00:59:21,440 --> 00:59:23,320
Speaker 1: when they go into the tunnels, your first encounter with

1024
00:59:23,360 --> 00:59:26,000
Speaker 1: the spores and what to do. Your characters take out

1025
00:59:26,000 --> 00:59:28,360
Speaker 1: gas masks and you walk through the spores and you're

1026
00:59:28,440 --> 00:59:32,080
Speaker 1: non infected, which never made sense because like the spores,

1027
00:59:32,240 --> 00:59:34,240
Speaker 1: you take off the gas mask, the scores are still

1028
00:59:34,280 --> 00:59:38,320
Speaker 1: all over your close hair, you're gonna still gonna breathe

1029
00:59:38,320 --> 00:59:41,960
Speaker 1: them in. So very wisely, Mason and drug Ben for

1030
00:59:42,000 --> 00:59:45,360
Speaker 1: the adaptation, have done away with the fucking gas mask

1031
00:59:45,720 --> 00:59:50,560
Speaker 1: and now it's zombie stuff direct bite, but like right, yeah, yeah.

1032
00:59:50,240 --> 00:59:52,680
Speaker 2: Seems like from Ellie's arm and from what we see

1033
00:59:52,680 --> 00:59:56,000
Speaker 2: that it's some kind of bite, some kind of blood situation,

1034
00:59:56,240 --> 00:59:57,920
Speaker 2: like like well classical zombies.

1035
00:59:58,480 --> 01:00:02,760
Speaker 1: Yes. Tess and Jol arrive at the building and guess what,

1036
01:00:02,840 --> 01:00:04,280
Speaker 1: it's the Firefly safehouse.

1037
01:00:04,960 --> 01:00:05,080
Speaker 2: Uh.

1038
01:00:05,520 --> 01:00:08,880
Speaker 1: They discover that a gunfight has broken out and Robert,

1039
01:00:08,960 --> 01:00:13,440
Speaker 1: along with a number of Fireflies have been killed. Robert

1040
01:00:13,560 --> 01:00:16,240
Speaker 1: died man doing what he loved, trying to fuck it,

1041
01:00:16,320 --> 01:00:20,640
Speaker 1: double cross somebody. It turns out the busy tries out

1042
01:00:20,680 --> 01:00:21,520
Speaker 1: a bust and battery.

1043
01:00:21,520 --> 01:00:24,040
Speaker 2: It turns out to the battery didn't work.

1044
01:00:24,280 --> 01:00:27,040
Speaker 1: And and the Fireflies were like, hey, we're not buying this,

1045
01:00:27,080 --> 01:00:30,760
Speaker 1: and a gunfight broke out and they all died except

1046
01:00:30,760 --> 01:00:34,280
Speaker 1: for Marlene, who is gut shot very seriously wounded, and Kim,

1047
01:00:34,320 --> 01:00:36,960
Speaker 1: who doesn't have an ear anymore. Folks, these are not

1048
01:00:37,080 --> 01:00:42,480
Speaker 1: exactly the Navy seals. The funnest like why just a

1049
01:00:42,560 --> 01:00:48,000
Speaker 1: quick aside, big you know, top secret safe house. We're

1050
01:00:48,320 --> 01:00:52,000
Speaker 1: launching attacks all across the zone to draw federal away.

1051
01:00:52,280 --> 01:00:54,280
Speaker 1: Why are you doing this here?

1052
01:00:53,920 --> 01:00:54,080
Speaker 2: Why?

1053
01:00:54,280 --> 01:00:55,000
Speaker 1: Why?

1054
01:00:54,480 --> 01:01:00,920
Speaker 2: An your battery has like your shitty high dout that

1055
01:01:01,080 --> 01:01:04,400
Speaker 2: just got blown up, Like go there, Like why did

1056
01:01:04,400 --> 01:01:06,960
Speaker 2: you bring this man who loves the double Cross people

1057
01:01:07,200 --> 01:01:11,920
Speaker 2: to your secret safe house where you're keeping the salvation? Please?

1058
01:01:11,960 --> 01:01:14,560
Speaker 1: Hey, let's let's do the deal. Let's do the deal

1059
01:01:14,600 --> 01:01:17,160
Speaker 1: in the hallway outside where we're holding Ellie, Like, let's

1060
01:01:17,160 --> 01:01:22,800
Speaker 1: do it. Do What the fuck are we doing anyway?

1061
01:01:23,920 --> 01:01:26,960
Speaker 1: With the fireflies based at this safe house, there's other fireflies,

1062
01:01:27,000 --> 01:01:29,680
Speaker 1: but they, you know, the ones based here now apparently

1063
01:01:29,760 --> 01:01:33,160
Speaker 1: wiped out, Marlene has no choice but to offer Joel

1064
01:01:33,320 --> 01:01:37,280
Speaker 1: and Tess, who she knows are hard asses, very capable,

1065
01:01:37,360 --> 01:01:41,439
Speaker 1: She says, offer them a deal. If they will take

1066
01:01:41,560 --> 01:01:44,880
Speaker 1: Ellie to a group of fireflies waiting across the city

1067
01:01:45,040 --> 01:01:49,280
Speaker 1: at the old state House outside the Quz, she will

1068
01:01:49,280 --> 01:01:52,560
Speaker 1: provide Joel with a truck with gas, with the fucking

1069
01:01:52,760 --> 01:01:57,280
Speaker 1: fresh battery in the truck, guns whatever they need to

1070
01:01:57,400 --> 01:02:00,880
Speaker 1: make their journey to Wyoming to go find Tommy. Now,

1071
01:02:00,960 --> 01:02:04,480
Speaker 1: Joel tests is like, do you trust her? And of

1072
01:02:04,520 --> 01:02:09,960
Speaker 1: course no at all. In this world clearly does not

1073
01:02:10,000 --> 01:02:13,960
Speaker 1: trust her. But we get a few pieces of information.

1074
01:02:14,040 --> 01:02:18,160
Speaker 1: One that Marlene knows not only knows Joel from reputation,

1075
01:02:18,280 --> 01:02:21,040
Speaker 1: but knows them because Tommy was a firefly. And this

1076
01:02:21,080 --> 01:02:23,600
Speaker 1: is a point of contention between Joel and Marlene, who

1077
01:02:23,840 --> 01:02:28,240
Speaker 1: Joel feels turned his brother against him in some form

1078
01:02:28,280 --> 01:02:32,400
Speaker 1: of fashion. Oh we should also mention that in this moment,

1079
01:02:32,680 --> 01:02:35,240
Speaker 1: Ellie comes bursting out and gives you an idea of

1080
01:02:35,240 --> 01:02:38,000
Speaker 1: the fight fierceness that she has. It comes bursting out

1081
01:02:38,000 --> 01:02:41,120
Speaker 1: of her room, switch blade at the ready, and Joel

1082
01:02:41,200 --> 01:02:43,360
Speaker 1: just like throws her into a wall. She just.

1083
01:02:45,040 --> 01:02:48,360
Speaker 2: Like he does not care. She is nothing to him,

1084
01:02:48,400 --> 01:02:51,160
Speaker 2: a sandbag. He just throws her in and then Joel's

1085
01:02:51,200 --> 01:02:53,880
Speaker 2: like toying with her, keeping her knife. You know, it

1086
01:02:53,920 --> 01:02:57,360
Speaker 2: doesn't set up a particularly great rapport between the two,

1087
01:02:57,600 --> 01:02:59,960
Speaker 2: but it shows us a lot about Ellie. And another

1088
01:03:00,040 --> 01:03:03,440
Speaker 2: thing this episode does is keeping one of everyone's favorite

1089
01:03:03,440 --> 01:03:08,640
Speaker 2: things about Ellie, which is like she curses like a

1090
01:03:08,720 --> 01:03:11,360
Speaker 2: drunken sailor, and they kept that in there. And to

1091
01:03:11,480 --> 01:03:15,200
Speaker 2: see Bella Ramsey who's just was so great as Leanna

1092
01:03:15,280 --> 01:03:18,800
Speaker 2: Mormot and is now just bringing that same attitude. But

1093
01:03:18,960 --> 01:03:21,920
Speaker 2: even more so. It's it's just wonderful to see it.

1094
01:03:21,920 --> 01:03:24,280
Speaker 2: But yeah, when Joel throws out against that wall, I

1095
01:03:24,320 --> 01:03:26,280
Speaker 2: mean you feel the impact.

1096
01:03:26,480 --> 01:03:30,440
Speaker 1: Yeah, they are wonderful in this role, and I like that.

1097
01:03:31,920 --> 01:03:34,800
Speaker 1: Just like the introduction of Ellie and Joel in the game,

1098
01:03:37,000 --> 01:03:39,919
Speaker 1: the show kind of throws the moment away a little bit,

1099
01:03:40,040 --> 01:03:45,760
Speaker 1: like maybe in Lesser Hands there'd be this instant Joel

1100
01:03:45,760 --> 01:03:51,160
Speaker 1: looks at Ellie. Yeah, it's a girl about the age.

1101
01:03:51,400 --> 01:03:55,360
Speaker 1: Joel's seen teenage girls before, like you've seen children the

1102
01:03:55,400 --> 01:03:59,000
Speaker 1: age of his his daughter. There, it's it's a throwaway moment.

1103
01:03:59,080 --> 01:04:03,360
Speaker 1: I think that makes the relationship that grows between them

1104
01:04:03,400 --> 01:04:08,200
Speaker 1: even more impactful later on. So yeah, Test smells desperation,

1105
01:04:08,800 --> 01:04:13,920
Speaker 1: understands that Marlene needs them and also has access to

1106
01:04:14,120 --> 01:04:18,800
Speaker 1: shit that they want. So Test steps up, makes the deal, says, Okay, listen,

1107
01:04:18,920 --> 01:04:20,800
Speaker 1: here's what we're going to do. We're going to take her.

1108
01:04:21,320 --> 01:04:24,640
Speaker 1: But if we get to the spot and the fireflies

1109
01:04:25,280 --> 01:04:27,400
Speaker 1: then want to take us to another place to give

1110
01:04:27,480 --> 01:04:31,520
Speaker 1: us the shit, we kill Ellie right there. The fireflies

1111
01:04:31,520 --> 01:04:33,840
Speaker 1: that we're meeting need to have the truck, the guns,

1112
01:04:33,920 --> 01:04:38,160
Speaker 1: the battery, everything right there, so we can leave right

1113
01:04:38,200 --> 01:04:42,080
Speaker 1: there and if that isn't ready again, we execute Ellie

1114
01:04:42,240 --> 01:04:44,919
Speaker 1: and Marlene's like great, good, yes, and Elly's like wait,

1115
01:04:44,920 --> 01:04:52,479
Speaker 1: hold on that sorry, So they all leave. Joel takes

1116
01:04:52,520 --> 01:04:56,360
Speaker 1: Ellie to his apartment and puts her inside, while Tests

1117
01:04:57,640 --> 01:04:59,960
Speaker 1: and Joel stay outside the hallway to kind of discussed

1118
01:05:00,200 --> 01:05:05,160
Speaker 1: like what happens next. In that brief time, Ellie breaks

1119
01:05:05,760 --> 01:05:11,920
Speaker 1: Jewels smuggling code that he has hidden in a book

1120
01:05:12,120 --> 01:05:16,439
Speaker 1: of pop music hits. The only part of the coach

1121
01:05:16,480 --> 01:05:18,760
Speaker 1: she doesn't figure out in this moment is what eighties

1122
01:05:19,200 --> 01:05:24,120
Speaker 1: music means. Joel comes back, Test goes off to get supplies,

1123
01:05:24,120 --> 01:05:27,560
Speaker 1: and Joel immediately falls asleep, a nice inversion of the

1124
01:05:28,120 --> 01:05:29,960
Speaker 1: you know the opening scene in which it's Sarah that

1125
01:05:30,000 --> 01:05:33,520
Speaker 1: falls asleep and Joel Let's says away Joel immediately nods off.

1126
01:05:33,560 --> 01:05:35,520
Speaker 1: When he wakes up, Ellie is telling him that he

1127
01:05:35,800 --> 01:05:40,120
Speaker 1: mumbles in his sleep, uh, And she's looking out at

1128
01:05:40,160 --> 01:05:42,640
Speaker 1: the rain and kind of reflecting on how she's never

1129
01:05:42,680 --> 01:05:46,920
Speaker 1: been beyond the walls of the QZ. She asks Joel,

1130
01:05:48,080 --> 01:05:50,160
Speaker 1: have you been out there? And she's he's like yeah, yeah, yeah,

1131
01:05:50,200 --> 01:05:52,640
Speaker 1: Test and I go. The last time we went is

1132
01:05:52,680 --> 01:05:56,360
Speaker 1: about a year ago, so Ellie is somewhat put at

1133
01:05:56,440 --> 01:05:58,800
Speaker 1: ease by this, feeling like, Okay, I'm with people who

1134
01:06:00,080 --> 01:06:07,640
Speaker 1: theoretically know what they're doing. And then she very very

1135
01:06:07,680 --> 01:06:13,439
Speaker 1: capably bamboozled Joel into revealing what the eighties code means.

1136
01:06:13,440 --> 01:06:15,880
Speaker 1: She says, oh, by the way, oh sorry, yeah, yeah,

1137
01:06:16,120 --> 01:06:18,800
Speaker 1: I forgot to mention when you're asleep the radio came on,

1138
01:06:19,320 --> 01:06:22,040
Speaker 1: What does wake me up? Before you go?

1139
01:06:22,040 --> 01:06:22,520
Speaker 2: Go mean?

1140
01:06:22,800 --> 01:06:26,400
Speaker 1: And Joel his head goes down and he's like fuck,

1141
01:06:27,280 --> 01:06:30,919
Speaker 1: And that is how Ellie realizes, Aha, eighties music means

1142
01:06:30,960 --> 01:06:34,520
Speaker 1: trouble letting, you know that. Like for for the obvious

1143
01:06:34,760 --> 01:06:39,120
Speaker 1: kind of like naivete and lack of experience that she

1144
01:06:39,200 --> 01:06:42,080
Speaker 1: has in this world, she's also very very capable, fierce

1145
01:06:42,200 --> 01:06:44,560
Speaker 1: and as thinker, smarter than Joel in a.

1146
01:06:44,520 --> 01:06:48,200
Speaker 2: Lot, very cunning, and she's definitely had to work out

1147
01:06:48,200 --> 01:06:53,240
Speaker 2: ways to survive that. Yeah, Belie her kind of small stature.

1148
01:06:53,440 --> 01:06:56,520
Speaker 2: You know, she has the knife, but really it's the

1149
01:06:56,640 --> 01:06:58,960
Speaker 2: smarts that have probably gone this far.

1150
01:07:01,320 --> 01:07:04,880
Speaker 1: So Test returns and everybody heads off, and of course

1151
01:07:04,920 --> 01:07:08,480
Speaker 1: we understand from an earlier scene that you get caught

1152
01:07:08,520 --> 01:07:12,040
Speaker 1: outside the wall, you get hung. It's no trial. They

1153
01:07:12,120 --> 01:07:15,400
Speaker 1: string you up. Outside, it's raining. It's a dark and

1154
01:07:15,480 --> 01:07:18,760
Speaker 1: stormy night. They encounter pissing against the wall, the same

1155
01:07:18,800 --> 01:07:21,720
Speaker 1: guard that Joel has been selling pills to. And now

1156
01:07:21,880 --> 01:07:25,000
Speaker 1: the guard decides, you know what I'm doing, shit by

1157
01:07:25,000 --> 01:07:25,360
Speaker 1: the book.

1158
01:07:25,400 --> 01:07:29,040
Speaker 2: Now I know that I like it, and I.

1159
01:07:31,000 --> 01:07:35,640
Speaker 1: Understand that I've been involved directly involved in various smuggling

1160
01:07:35,680 --> 01:07:39,760
Speaker 1: schemes throughout the zone. But now we're bringing you in. Neil,

1161
01:07:40,000 --> 01:07:42,000
Speaker 1: put your hands behind your head, et cetera. I'm going

1162
01:07:42,040 --> 01:07:45,640
Speaker 1: to test you in for infectually. He tests Tests Green,

1163
01:07:46,000 --> 01:07:48,080
Speaker 1: then he tests Joel Green, and we can see the

1164
01:07:48,120 --> 01:07:51,800
Speaker 1: panic rising in Elley. She doesn't want she knows she's

1165
01:07:51,840 --> 01:07:54,520
Speaker 1: going to test red, and she doesn't want her cover

1166
01:07:54,600 --> 01:07:57,800
Speaker 1: blown about what's going on with her. So as he

1167
01:07:57,960 --> 01:08:01,800
Speaker 1: places the device to her neck, she takes out the

1168
01:08:01,800 --> 01:08:03,840
Speaker 1: switch plate and stabs him right in the fucking thigh.

1169
01:08:04,280 --> 01:08:09,840
Speaker 1: Shit pops off. Joel is and Tests are trying to

1170
01:08:09,880 --> 01:08:14,200
Speaker 1: talk him, hey, like, don't don't do anything rash, don't

1171
01:08:14,200 --> 01:08:20,280
Speaker 1: do anything crazy, and Joel flashes back. Because of the

1172
01:08:20,439 --> 01:08:24,280
Speaker 1: direct parallels, here is this guy in soldier gear again.

1173
01:08:24,840 --> 01:08:30,920
Speaker 1: He's flashing a light in his face, holding a gun

1174
01:08:30,960 --> 01:08:33,439
Speaker 1: to a child. The child is right here with him,

1175
01:08:33,479 --> 01:08:37,799
Speaker 1: and he just snaps and he kills a guy. Uh after,

1176
01:08:38,040 --> 01:08:41,480
Speaker 1: right after that happened, test notices that on the handheld

1177
01:08:41,880 --> 01:08:46,400
Speaker 1: testing device that Ellie tested red and now Ellie and

1178
01:08:46,439 --> 01:08:49,000
Speaker 1: now everything is out in the open, and and Ellie

1179
01:08:49,040 --> 01:08:51,200
Speaker 1: is showing them the scar from the bite that is

1180
01:08:51,280 --> 01:08:53,880
Speaker 1: healed over and now three weeks old. And she's saying, listen,

1181
01:08:54,760 --> 01:08:56,679
Speaker 1: I'm not if I was gonna get sick, it would

1182
01:08:56,680 --> 01:08:58,599
Speaker 1: have happened a long time ago. I'm not sick. I

1183
01:08:58,640 --> 01:09:01,120
Speaker 1: know what that looks like. But look this held and anyway,

1184
01:09:01,160 --> 01:09:03,000
Speaker 1: we need to get out of here because Fedro's coming.

1185
01:09:03,520 --> 01:09:06,559
Speaker 2: Test wants to turn the head but Ellie, Ellie talks

1186
01:09:06,560 --> 01:09:07,360
Speaker 2: away out of it.

1187
01:09:07,600 --> 01:09:09,800
Speaker 1: It talks away out of it, and the three head

1188
01:09:09,840 --> 01:09:13,719
Speaker 1: off into the darkness as the camera kind of pans

1189
01:09:13,800 --> 01:09:17,760
Speaker 1: up and you see the destroyed skyline of Boston's back

1190
01:09:17,840 --> 01:09:20,360
Speaker 1: Bay with like the I think that's the insured, the

1191
01:09:20,400 --> 01:09:24,599
Speaker 1: famous like the insurance building like toppled into another building.

1192
01:09:25,280 --> 01:09:30,040
Speaker 1: And they head off into this really gathering darkness that

1193
01:09:30,320 --> 01:09:34,480
Speaker 1: just feels terrible and dangerous just by looking at this skyline.

1194
01:09:34,600 --> 01:09:37,360
Speaker 1: And we go to Joel's apartment where never let me

1195
01:09:37,400 --> 01:09:41,120
Speaker 1: down by Depeche Mode nineteen eighty seven comes on the radio,

1196
01:09:41,240 --> 01:09:44,800
Speaker 1: and you know that wherever whoever is sending that it's

1197
01:09:44,800 --> 01:09:49,040
Speaker 1: going wrong, it's going very, very wrong. And we head

1198
01:09:49,040 --> 01:09:53,200
Speaker 1: into episode two woo whoa, that's how you do it.

1199
01:09:53,320 --> 01:09:55,280
Speaker 2: That's how you do it. It's so good and I

1200
01:09:55,439 --> 01:09:59,559
Speaker 2: love I love the ending where they use this musical

1201
01:09:59,560 --> 01:10:02,040
Speaker 2: beat that just set up a moment ago as a

1202
01:10:02,080 --> 01:10:06,280
Speaker 2: funny character moment to just tell you they're like they're fucked,

1203
01:10:06,760 --> 01:10:09,680
Speaker 2: like this is going badly. Whether it's not just from

1204
01:10:09,680 --> 01:10:12,439
Speaker 2: the people that they're getting these messages from, which I

1205
01:10:12,479 --> 01:10:14,720
Speaker 2: think people will be really excited about. It's like I

1206
01:10:14,760 --> 01:10:17,160
Speaker 2: think they were talking about Bill and Frank, you know,

1207
01:10:17,320 --> 01:10:19,200
Speaker 2: so this is kind of stuff that people really want

1208
01:10:19,200 --> 01:10:22,960
Speaker 2: to see. But also just as a tone setter for

1209
01:10:23,080 --> 01:10:26,439
Speaker 2: the show, like this is gonna end badly, something that

1210
01:10:26,520 --> 01:10:30,920
Speaker 2: I will say Joel does say many times he knows

1211
01:10:31,240 --> 01:10:33,760
Speaker 2: the way it's going, he just doesn't know which way

1212
01:10:33,760 --> 01:10:38,040
Speaker 2: it's going. Yeah. Yeah, I mean I've said this many times, right,

1213
01:10:38,280 --> 01:10:41,679
Speaker 2: I no surprise thing. I love a lot of video

1214
01:10:41,680 --> 01:10:44,040
Speaker 2: game adaptations. I think there's a lot of fun ones.

1215
01:10:44,160 --> 01:10:46,519
Speaker 2: I think I think there's ones that are quite actually

1216
01:10:46,600 --> 01:10:49,240
Speaker 2: quite good. I think that I love the campiness of Conic,

1217
01:10:49,400 --> 01:10:51,639
Speaker 2: but oh, oh my god, well, I will say, actually,

1218
01:10:51,760 --> 01:10:54,720
Speaker 2: I just Sonic would generally be seen as that. I'm

1219
01:10:54,960 --> 01:10:57,800
Speaker 2: I'm a fan of the great I love the Nighties,

1220
01:10:57,840 --> 01:11:00,360
Speaker 2: More Combat Movie, I love Double Dragon movie with Marke

1221
01:11:01,080 --> 01:11:04,599
Speaker 2: like those are really fun. Well, but this as a

1222
01:11:04,600 --> 01:11:08,639
Speaker 2: feat of adapting a story and a tone, we haven't

1223
01:11:08,640 --> 01:11:11,840
Speaker 2: really seen anything like this in live action. It's pretty

1224
01:11:11,840 --> 01:11:16,120
Speaker 2: spectacular and I'm really excited. We got a little bit

1225
01:11:16,160 --> 01:11:19,799
Speaker 2: of it in the quarantine zone, you know, those quiet moments,

1226
01:11:19,840 --> 01:11:24,839
Speaker 2: the overgrown weeds of kind of the in the city.

1227
01:11:24,960 --> 01:11:29,280
Speaker 2: But I'm really excited when we get to see outside

1228
01:11:29,360 --> 01:11:36,000
Speaker 2: the quarantine zone with these fallen buildings and the overgrown wildlife,

1229
01:11:36,040 --> 01:11:38,360
Speaker 2: and getting to have a few more of those quiet

1230
01:11:38,400 --> 01:11:43,479
Speaker 2: moments of nature overcoming and nature coming back even after

1231
01:11:43,520 --> 01:11:47,599
Speaker 2: this terrible thing. I think they did an unbelievable job

1232
01:11:47,680 --> 01:11:50,760
Speaker 2: with this, and I'm also really glad that they didn't

1233
01:11:50,840 --> 01:11:53,160
Speaker 2: drop more than one episode because I think this is

1234
01:11:53,240 --> 01:11:57,439
Speaker 2: like a really great water cooler. Everyone will be talking

1235
01:11:57,479 --> 01:11:59,880
Speaker 2: about it. It's been very nice.

1236
01:12:00,120 --> 01:12:01,960
Speaker 1: It's in it raced by Oh my god.

1237
01:12:02,040 --> 01:12:03,360
Speaker 2: I was shocked.

1238
01:12:03,400 --> 01:12:05,240
Speaker 1: I did not realize.

1239
01:12:06,640 --> 01:12:08,880
Speaker 2: I just assumed it was a normal episode and I

1240
01:12:08,920 --> 01:12:10,880
Speaker 2: was like, what, and it's It's been really cool to

1241
01:12:10,920 --> 01:12:14,160
Speaker 2: see people in our discord who've never played the game

1242
01:12:14,200 --> 01:12:15,920
Speaker 2: who just loved it, And it's been nice to see

1243
01:12:15,960 --> 01:12:17,880
Speaker 2: that online as well, to see people who were just

1244
01:12:17,920 --> 01:12:20,679
Speaker 2: like I just gave it a try because of Pedro Pascal.

1245
01:12:20,840 --> 01:12:22,960
Speaker 2: I just gave it a try, because of Bella Ramsey.

1246
01:12:22,960 --> 01:12:24,880
Speaker 2: I gave it a try because I like zombie stories.

1247
01:12:25,520 --> 01:12:28,479
Speaker 2: And to see how drawn into this world they've been,

1248
01:12:28,760 --> 01:12:30,679
Speaker 2: even if they've never played the game, I think that's

1249
01:12:30,760 --> 01:12:34,120
Speaker 2: really a testament to how good the storytelling is if

1250
01:12:34,120 --> 01:12:36,479
Speaker 2: you can make it accessible to an audience who has

1251
01:12:36,520 --> 01:12:38,920
Speaker 2: no idea what Fedra is or Cordyceps or all of

1252
01:12:38,960 --> 01:12:43,000
Speaker 2: that stuff. The storytelling here is so smartly done and

1253
01:12:43,080 --> 01:12:45,519
Speaker 2: kind of sparse, but just tells you what you need

1254
01:12:45,600 --> 01:12:48,280
Speaker 2: to know. Yeah, I just I'm blown away by how

1255
01:12:48,320 --> 01:12:48,720
Speaker 2: good it is.

1256
01:12:49,240 --> 01:12:51,920
Speaker 1: It did everything that an opening episode needs to do

1257
01:12:51,960 --> 01:12:55,840
Speaker 1: in it. It did. It's just in a way that

1258
01:12:56,000 --> 01:12:59,320
Speaker 1: just draws you in. It told you, in various dribs

1259
01:12:59,320 --> 01:13:03,960
Speaker 1: and drabs andvarious moments, what the emotional generator of the

1260
01:13:04,000 --> 01:13:06,040
Speaker 1: story is going to be, what the story itself is

1261
01:13:06,040 --> 01:13:08,480
Speaker 1: going to be how the world works, what the relationships

1262
01:13:08,520 --> 01:13:13,200
Speaker 1: with these characters are, what the economy like it fleshed

1263
01:13:13,200 --> 01:13:15,479
Speaker 1: it out in really wonderful ways. The casting, we have

1264
01:13:15,520 --> 01:13:17,960
Speaker 1: to say, I mean we've talked about it with Nico

1265
01:13:18,000 --> 01:13:23,760
Speaker 1: Parker obviously, with Pedro Pascal, with Anaturv again, who she's

1266
01:13:23,800 --> 01:13:24,400
Speaker 1: so good.

1267
01:13:24,520 --> 01:13:28,080
Speaker 2: That brought so much nuance in humanity to this like

1268
01:13:28,200 --> 01:13:30,520
Speaker 2: really brutal characters.

1269
01:13:31,080 --> 01:13:33,800
Speaker 1: And the way that that first of all loved her

1270
01:13:33,840 --> 01:13:36,360
Speaker 1: and Fringe loved her in My Hunter, you know, like,

1271
01:13:37,120 --> 01:13:42,120
Speaker 1: but the way that time and time again, the first

1272
01:13:42,160 --> 01:13:47,439
Speaker 1: episode just subverts what you expect if you know the game,

1273
01:13:49,400 --> 01:13:52,920
Speaker 1: you know, tests again, you know, we we were set

1274
01:13:53,000 --> 01:13:54,840
Speaker 1: up to think that she's a psycho, but she's kind

1275
01:13:54,880 --> 01:13:57,080
Speaker 1: of the smarter one, kind of like the headier one,

1276
01:13:58,000 --> 01:14:01,360
Speaker 1: giving you moments that happened before you respect them. The

1277
01:14:02,000 --> 01:14:04,200
Speaker 1: thing that you pointed out I think that was so smart,

1278
01:14:04,200 --> 01:14:07,080
Speaker 1: which is like you get these moments where they arrive

1279
01:14:07,160 --> 01:14:09,439
Speaker 1: at the Firefly safe house test and dol they take

1280
01:14:09,439 --> 01:14:12,040
Speaker 1: their packs out. This feels like the game. They're getting

1281
01:14:12,080 --> 01:14:14,120
Speaker 1: all their stuff out of the pack, their guns, they're

1282
01:14:14,160 --> 01:14:16,639
Speaker 1: getting it right, and then they never do anything there's

1283
01:14:16,720 --> 01:14:21,840
Speaker 1: never the fact that there's no real moment of holy

1284
01:14:21,880 --> 01:14:24,840
Speaker 1: shit action with Tess and Joel at all, but you

1285
01:14:24,960 --> 01:14:29,000
Speaker 1: feel propelled for it, and you understand what hard asses

1286
01:14:29,080 --> 01:14:32,320
Speaker 1: they are, how fierce, and how dangerous they are, despite

1287
01:14:32,360 --> 01:14:34,720
Speaker 1: the fact that you never see a single fucking thing.

1288
01:14:35,080 --> 01:14:36,920
Speaker 1: It's all about how they moved through the world and

1289
01:14:36,960 --> 01:14:38,080
Speaker 1: how people relate to them.

1290
01:14:38,320 --> 01:14:42,120
Speaker 2: That is great, It's really cool, and it also is

1291
01:14:42,160 --> 01:14:45,960
Speaker 2: a really nice understanding of the difference between storytelling and

1292
01:14:46,040 --> 01:14:48,479
Speaker 2: a video game and storytelling and a TV show. You

1293
01:14:48,520 --> 01:14:50,360
Speaker 2: don't need to see them do all of that in

1294
01:14:50,439 --> 01:14:52,800
Speaker 2: the TV show constantly in the game. It is part

1295
01:14:52,800 --> 01:14:54,760
Speaker 2: of the action that keeps you going and not The

1296
01:14:54,840 --> 01:14:58,920
Speaker 2: choice I thought was so interesting was to have Joel

1297
01:14:59,120 --> 01:15:03,280
Speaker 2: kill the cue guard, not by shooting him, even though

1298
01:15:03,320 --> 01:15:05,840
Speaker 2: because you know bullets they're very rare. In this game,

1299
01:15:05,840 --> 01:15:07,920
Speaker 2: you start with four, five, six, and you have to

1300
01:15:07,960 --> 01:15:09,960
Speaker 2: find them. You're looking through every door to find a bullet,

1301
01:15:10,000 --> 01:15:13,439
Speaker 2: you're picking it up and Joel's raw anger. Instead, he

1302
01:15:13,520 --> 01:15:16,280
Speaker 2: beats him to death, and that is again something that

1303
01:15:16,320 --> 01:15:19,200
Speaker 2: is directly taken from the game. You can regularly beat

1304
01:15:19,200 --> 01:15:21,360
Speaker 2: people to death and strangle them. But what I love

1305
01:15:21,439 --> 01:15:23,720
Speaker 2: here is instead of it just being like, oh, he's

1306
01:15:23,800 --> 01:15:25,920
Speaker 2: just that kind of guy. This is a moment of

1307
01:15:26,439 --> 01:15:31,479
Speaker 2: it's emotional breakdown. This is a horrific act where he

1308
01:15:31,520 --> 01:15:35,160
Speaker 2: has killed someone that he had a vaguely chill relationship

1309
01:15:35,240 --> 01:15:38,519
Speaker 2: with because of this horrible memory.

1310
01:15:39,080 --> 01:15:41,680
Speaker 1: It's it's a really it's a great point. And I

1311
01:15:41,720 --> 01:15:45,559
Speaker 1: love the way they throw it to to Bella's face there.

1312
01:15:45,680 --> 01:15:51,120
Speaker 1: Oh and you see how one how staggeringly violent this

1313
01:15:51,200 --> 01:15:54,559
Speaker 1: thing she had just seen, is how this thing Elliott

1314
01:15:54,600 --> 01:15:59,759
Speaker 1: just seen is, but also how it kind of cements it, like, Okay,

1315
01:16:01,400 --> 01:16:03,760
Speaker 1: I'm in. I'm not going to say safe hands. I'm

1316
01:16:03,760 --> 01:16:06,240
Speaker 1: not going to say good hands, but I'm in the

1317
01:16:06,360 --> 01:16:08,120
Speaker 1: kind of hands that you need in.

1318
01:16:08,040 --> 01:16:10,840
Speaker 2: A way get me there. Let's just hope the fireflies

1319
01:16:10,880 --> 01:16:12,800
Speaker 2: have what they want because they will also kill me.

1320
01:16:13,520 --> 01:16:19,160
Speaker 4: Yes, you know, I definitely want to see I want

1321
01:16:19,200 --> 01:16:21,200
Speaker 4: to just say, like I was really happy when I

1322
01:16:21,200 --> 01:16:23,519
Speaker 4: was reading the reviews after I watched the screen as like,

1323
01:16:24,439 --> 01:16:28,759
Speaker 4: I was really happy to see everyone shouting out Bella's

1324
01:16:28,760 --> 01:16:33,360
Speaker 4: performance because they're facerafting in this the news of.

1325
01:16:33,240 --> 01:16:36,000
Speaker 2: What they put across with their eyes, the way they're

1326
01:16:36,000 --> 01:16:39,479
Speaker 2: able to embody this kind of teenage awkwardness and this

1327
01:16:39,640 --> 01:16:42,360
Speaker 2: kind of that faux confidence you have to have as

1328
01:16:42,400 --> 01:16:45,360
Speaker 2: a teenager to make it through the world. Let alone.

1329
01:16:45,600 --> 01:16:48,240
Speaker 1: I think I'm own up already. I believe that I'm

1330
01:16:48,240 --> 01:16:50,800
Speaker 1: an adult already when it's very clear to everybody else

1331
01:16:50,800 --> 01:16:51,280
Speaker 1: that you're not.

1332
01:16:51,640 --> 01:16:55,360
Speaker 2: Exactly. There's so much nuance in it. And Pedro's obviously,

1333
01:16:55,720 --> 01:16:59,840
Speaker 2: he's so amazing, like Petroscal, Like, no one's like, oh,

1334
01:17:00,479 --> 01:17:03,960
Speaker 2: he's not showing up next to Bella. No, he's absolutely brilliant.

1335
01:17:04,000 --> 01:17:06,080
Speaker 2: But for Bella to be able to shine the way

1336
01:17:06,120 --> 01:17:10,040
Speaker 2: they do next to him, that's just unbelievable. And I'm

1337
01:17:10,160 --> 01:17:16,600
Speaker 2: so excited to see that relationship, you know, enemies to

1338
01:17:17,400 --> 01:17:21,080
Speaker 2: parental figures or whatever the trope would be. I'm so

1339
01:17:21,200 --> 01:17:24,800
Speaker 2: excited to see that expanded as we go on. Who

1340
01:17:24,800 --> 01:17:27,280
Speaker 2: doesn't love a lone wolf and cub type story, you know,

1341
01:17:27,360 --> 01:17:31,240
Speaker 2: and this is going to be such a special representation

1342
01:17:31,360 --> 01:17:33,479
Speaker 2: of it. And Yeah, I was just really blown away.

1343
01:17:33,479 --> 01:17:35,960
Speaker 2: I'm so excited to talk about this series as it

1344
01:17:36,000 --> 01:17:36,360
Speaker 2: goes on.

1345
01:17:37,560 --> 01:17:40,320
Speaker 1: Yeah, I love the thing that you talked about because

1346
01:17:42,040 --> 01:17:45,519
Speaker 1: you know, when I was thirteen fourteen, I was like, oh,

1347
01:17:45,600 --> 01:17:48,439
Speaker 1: I'm a grown up now, I'm an adult, like I'm actually

1348
01:17:48,439 --> 01:17:52,360
Speaker 1: smarter than most adults. And then now when I see

1349
01:17:52,400 --> 01:17:54,879
Speaker 1: people who are thirteen, I'm like, you're a baby.

1350
01:17:55,200 --> 01:17:58,120
Speaker 4: When I said twenty, I think that now because I'm

1351
01:17:58,120 --> 01:18:00,400
Speaker 4: so old, like it really, you know, what I.

1352
01:18:00,320 --> 01:18:03,240
Speaker 2: Always think about that when I was a kid is

1353
01:18:03,240 --> 01:18:04,920
Speaker 2: like when you're in you know, in England we call

1354
01:18:04,960 --> 01:18:07,040
Speaker 2: it secondary school, but when you're in like middle school,

1355
01:18:07,160 --> 01:18:10,880
Speaker 2: and you see someone who is above you, who's like

1356
01:18:10,920 --> 01:18:13,439
Speaker 2: a senior or whatever, who's about to go to high school,

1357
01:18:13,439 --> 01:18:14,960
Speaker 2: and you think, oh, they're an adult. And then you

1358
01:18:15,000 --> 01:18:17,679
Speaker 2: get to that age, everyone above you looks like an adult,

1359
01:18:17,680 --> 01:18:20,760
Speaker 2: and it just that constant cycle. And what I love

1360
01:18:20,800 --> 01:18:26,680
Speaker 2: about Bella's performances with Ellie, Ellie is always in that

1361
01:18:26,760 --> 01:18:29,360
Speaker 2: space of I can hold my own I'm an adult,

1362
01:18:29,400 --> 01:18:31,880
Speaker 2: I'm doing it, I'm old. But every so often there

1363
01:18:31,920 --> 01:18:35,280
Speaker 2: is a moment where she sees one of the adults

1364
01:18:35,320 --> 01:18:38,679
Speaker 2: doing something so horrific or so strange, and you get

1365
01:18:38,680 --> 01:18:40,920
Speaker 2: that look in her eye where she knows she's still

1366
01:18:40,960 --> 01:18:43,880
Speaker 2: a child, just in this world. Also, I think it's

1367
01:18:44,000 --> 01:18:48,400
Speaker 2: very very interesting to start a show like this and

1368
01:18:48,520 --> 01:18:50,479
Speaker 2: start a story like this, same within the game, but

1369
01:18:50,520 --> 01:18:53,800
Speaker 2: to see it on TV of a character who remembers

1370
01:18:53,880 --> 01:18:58,400
Speaker 2: the old world and a character who's only a reference

1371
01:18:59,040 --> 01:19:02,040
Speaker 2: is the zombie. I think that is such a cool

1372
01:19:02,840 --> 01:19:05,240
Speaker 2: space in The Walking Dead. That took them years to

1373
01:19:05,240 --> 01:19:06,680
Speaker 2: get to the place where you can have a child

1374
01:19:07,120 --> 01:19:08,880
Speaker 2: who was built born there because of the way they

1375
01:19:09,000 --> 01:19:11,600
Speaker 2: told the story. Another thing I really loved about this

1376
01:19:11,640 --> 01:19:14,320
Speaker 2: first episode. We talked about it, you know in your

1377
01:19:14,360 --> 01:19:18,920
Speaker 2: great recap is like the Ham Radio. I love this

1378
01:19:19,040 --> 01:19:25,080
Speaker 2: idea that in the economy of the post apocalypse, different

1379
01:19:25,160 --> 01:19:29,640
Speaker 2: people with different skills suddenly rise up the ranks in

1380
01:19:29,720 --> 01:19:32,040
Speaker 2: this world. The man with the ham radio, who can

1381
01:19:32,120 --> 01:19:34,639
Speaker 2: talk to people's families all over the world, he becomes

1382
01:19:34,680 --> 01:19:37,400
Speaker 2: like the most important man, the kingpin. You know, I

1383
01:19:38,080 --> 01:19:42,120
Speaker 2: watched this. I read this absolutely brilliant Walking Dead comic

1384
01:19:42,240 --> 01:19:46,000
Speaker 2: by Tillie Walden, who's one of my favorite cartoonists, called Clementine,

1385
01:19:46,120 --> 01:19:48,559
Speaker 2: and there's a great bit in there about a man

1386
01:19:48,640 --> 01:19:53,600
Speaker 2: who makes prosthetics. He trained himself how to make prosthetics

1387
01:19:53,600 --> 01:19:56,400
Speaker 2: because in the zombie Apocalypse that suddenly became something that

1388
01:19:56,439 --> 01:19:59,599
Speaker 2: everybody needed, especially in the Walking Dead, because you can

1389
01:19:59,640 --> 01:20:03,320
Speaker 2: chop off your limb and can survive the virus, so

1390
01:20:03,360 --> 01:20:07,719
Speaker 2: I love these kind of ideas of economy, like how

1391
01:20:07,760 --> 01:20:11,559
Speaker 2: does it work, what becomes valuable, what becomes Yeah, sure

1392
01:20:11,760 --> 01:20:14,320
Speaker 2: you can kill people. Actually that is a skill that

1393
01:20:14,360 --> 01:20:16,800
Speaker 2: a lot of people are getting Joel tests. But what

1394
01:20:16,880 --> 01:20:20,840
Speaker 2: are the more mundane skills that you can bring that

1395
01:20:21,000 --> 01:20:23,719
Speaker 2: would you survive the zombie apocalypse? There's lots of memes

1396
01:20:23,760 --> 01:20:26,360
Speaker 2: like that, what are the five things you'd bring to

1397
01:20:26,400 --> 01:20:29,679
Speaker 2: like a post apocalyptic society? Like can you make bread?

1398
01:20:29,720 --> 01:20:32,559
Speaker 2: Can you farm? Do you know how to run a

1399
01:20:32,560 --> 01:20:34,679
Speaker 2: ham radio? Like a lot of us would be fucked.

1400
01:20:35,920 --> 01:20:42,280
Speaker 2: But I love those choices that slow burn world building choices.

1401
01:20:42,320 --> 01:20:44,840
Speaker 2: I am so excited to see that expanded as we

1402
01:20:44,920 --> 01:20:49,479
Speaker 2: get outside, especially because I think that one of the

1403
01:20:49,520 --> 01:20:51,760
Speaker 2: things that we know from the reviews, from the way

1404
01:20:51,760 --> 01:20:53,400
Speaker 2: people are talking about this, this is a show that

1405
01:20:53,479 --> 01:20:56,320
Speaker 2: isn't afraid to move away from Joel and Ellie. We're

1406
01:20:56,320 --> 01:20:58,759
Speaker 2: going to get to see the wider world, the different people.

1407
01:20:58,760 --> 01:21:01,280
Speaker 2: We're going to get to see stories and characters expanded

1408
01:21:01,280 --> 01:21:03,240
Speaker 2: on who are just in the game for a moment

1409
01:21:03,920 --> 01:21:05,680
Speaker 2: and get to see them be brought to life. So

1410
01:21:05,840 --> 01:21:07,360
Speaker 2: I'm just really excited for it.

1411
01:21:07,560 --> 01:21:09,600
Speaker 1: Same here, we're going to be covering The Last of

1412
01:21:09,680 --> 01:21:13,320
Speaker 1: Us on HBO Max a week to week, And of

1413
01:21:13,320 --> 01:21:15,800
Speaker 1: course we're going to be returning to our coverage of

1414
01:21:16,240 --> 01:21:18,960
Speaker 1: the video game The Last of Us video Game in

1415
01:21:19,080 --> 01:21:25,120
Speaker 1: weeks to come. That's it for this episode, Rosie. Anything

1416
01:21:25,160 --> 01:21:26,599
Speaker 1: to plug Just you.

1417
01:21:26,640 --> 01:21:29,720
Speaker 2: Can hear us here two times a week. That's very cool.

1418
01:21:30,040 --> 01:21:34,000
Speaker 2: I will also be covering The Last of Us at IGN.

1419
01:21:34,320 --> 01:21:37,040
Speaker 2: I'm writing all those kind of good explainers. Obviously we're

1420
01:21:37,040 --> 01:21:42,040
Speaker 2: getting very close to Quantumania time. Yeah, so I got

1421
01:21:42,080 --> 01:21:44,920
Speaker 2: lots of theories about that, you know is I got

1422
01:21:44,920 --> 01:21:48,880
Speaker 2: some cool deep dives coming up in to you know,

1423
01:21:49,040 --> 01:21:53,800
Speaker 2: Polygon regarding Quantumania and the comics it's drawing from. Also,

1424
01:21:53,840 --> 01:21:57,679
Speaker 2: I just want to say Quas. You know, people are saying,

1425
01:21:57,720 --> 01:22:01,200
Speaker 2: could it be Quasar? It's the one for William Jackson Harper.

1426
01:22:01,280 --> 01:22:04,120
Speaker 2: I think that is still a Richards who's just hiding

1427
01:22:04,160 --> 01:22:07,280
Speaker 2: his He's got to hide that, you know, his name,

1428
01:22:07,400 --> 01:22:10,280
Speaker 2: his place from Kang in the Quantum Room. So he

1429
01:22:10,320 --> 01:22:12,320
Speaker 2: made up a cool name, Quas. I still believe he's

1430
01:22:12,320 --> 01:22:15,680
Speaker 2: a Richard. Maybe read I'm moving towards.

1431
01:22:15,439 --> 01:22:15,880
Speaker 1: It with you.

1432
01:22:16,360 --> 01:22:18,240
Speaker 2: I think that would be really cool. So yeah, that's

1433
01:22:18,240 --> 01:22:18,960
Speaker 2: my theory.

1434
01:22:19,000 --> 01:22:26,879
Speaker 1: Plug catch the next episode of X Revision Friday, January

1435
01:22:26,880 --> 01:22:29,760
Speaker 1: twenty said, is this Friday or a week catching up

1436
01:22:29,800 --> 01:22:31,800
Speaker 1: on the bed? Betch folks?

1437
01:22:32,240 --> 01:22:34,839
Speaker 2: Yeah, and you know it. Subscribe to us on YouTube,

1438
01:22:34,920 --> 01:22:38,080
Speaker 2: follow at XRV pod on Twitter where we're always retweeting

1439
01:22:38,120 --> 01:22:41,160
Speaker 2: cool stuff, responding to theories and call tattoos. So send

1440
01:22:41,240 --> 01:22:44,880
Speaker 2: us all of those. Check out discord. The discord is

1441
01:22:44,920 --> 01:22:47,240
Speaker 2: so much fun. We reference it a lot because me

1442
01:22:47,240 --> 01:22:48,960
Speaker 2: and Jason are always in there. There's a ton of

1443
01:22:49,000 --> 01:22:52,200
Speaker 2: great fans talking about all this cool stuff, breaking down theories,

1444
01:22:52,439 --> 01:22:55,559
Speaker 2: given book recommendations. It's a total joint. There's also like

1445
01:22:55,640 --> 01:22:58,080
Speaker 2: sports in there, so really covering everything. If you're a

1446
01:22:58,160 --> 01:22:59,519
Speaker 2: Jason fan, you'll love our discord.

1447
01:23:00,000 --> 01:23:01,960
Speaker 1: We had a watch party. We had a watch party

1448
01:23:01,960 --> 01:23:03,760
Speaker 1: for the last of Us where we were in there

1449
01:23:03,960 --> 01:23:07,840
Speaker 1: the reacting with people on West Coast time mostly who

1450
01:23:07,840 --> 01:23:11,919
Speaker 1: were watching the show along with us. Five star reviews,

1451
01:23:12,360 --> 01:23:15,320
Speaker 1: five star ratings. We need them, we gotta have them,

1452
01:23:15,479 --> 01:23:18,200
Speaker 1: we want them. Here's one from Nematon, the real world

1453
01:23:18,240 --> 01:23:20,560
Speaker 1: impact of our stories. Jason and Rosie are two of

1454
01:23:20,560 --> 01:23:23,320
Speaker 1: the most humble, funny, and kind creative storytellers in the business.

1455
01:23:25,920 --> 01:23:27,040
Speaker 2: I'm blushing.

1456
01:23:28,520 --> 01:23:31,360
Speaker 1: From the latest blockbuster, the super niche comic Deep Dives.

1457
01:23:31,360 --> 01:23:34,519
Speaker 1: These two cover plot synopsis, easter eggs, theorizing, and most importantly,

1458
01:23:34,840 --> 01:23:37,360
Speaker 1: the real world impact of the stories we're currently watching

1459
01:23:37,400 --> 01:23:39,960
Speaker 1: a reading. Thank you so much, Nematon's.

1460
01:23:39,880 --> 01:23:44,160
Speaker 2: Lovely and also we love nedouts. They're some of our

1461
01:23:44,200 --> 01:23:47,040
Speaker 2: favorite things. We love them. The Discord loves them. But

1462
01:23:47,160 --> 01:23:50,200
Speaker 2: we also know that, like us, you have a lot

1463
01:23:50,240 --> 01:23:52,840
Speaker 2: of theories and want to share them. We get them

1464
01:23:52,840 --> 01:23:55,120
Speaker 2: when we do mail bags, we love to hear them,

1465
01:23:55,280 --> 01:23:58,960
Speaker 2: we get them in our dms. So now nodouts will

1466
01:23:59,000 --> 01:24:00,799
Speaker 2: also be a place for you to share your theories

1467
01:24:00,840 --> 01:24:04,280
Speaker 2: as well as your favorite you know, shows, movies, comic books.

1468
01:24:04,280 --> 01:24:08,240
Speaker 2: More So, send us your weirdest, most tinfoiliest fan theories

1469
01:24:08,240 --> 01:24:10,280
Speaker 2: in a two minute or left voice memo to x

1470
01:24:10,360 --> 01:24:13,320
Speaker 2: ray at cricket dot com and we will discuss them

1471
01:24:13,840 --> 01:24:14,320
Speaker 2: on the show.

1472
01:24:14,640 --> 01:24:16,479
Speaker 1: X ray Vision is a Crooked Media production. The show

1473
01:24:16,560 --> 01:24:18,360
Speaker 1: is produced by Chris Lorden Sol Rubin. The show is

1474
01:24:18,400 --> 01:24:21,320
Speaker 1: executive produced by myself and Sandy Grohard are editing in

1475
01:24:21,360 --> 01:24:25,360
Speaker 1: Sound designers by Vascillis Fotopoulos, Dylon Villanueva and Matt de

1476
01:24:25,439 --> 01:24:28,960
Speaker 1: Group provide video production support. Alex Rella for handle social media.

1477
01:24:29,000 --> 01:24:32,519
Speaker 1: Thank you Brian Vesquez for the music That's it. See

1478
01:24:32,600 --> 01:24:33,400
Speaker 1: us Friday.

1479
01:24:33,400 --> 01:24:35,839
Speaker 2: Bye,