WEBVTT - HBO's The Last of Us Ep. 4

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<v Speaker 1>Warning this podcast could teeth spoilers for the Last of

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<v Speaker 1>Us episode four. Hello, my name is Jason Concepcion and

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<v Speaker 1>I'm Rosie Knight, and welcome to x ray Vision. The

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<v Speaker 1>Crooked Media podcast will be dived to your favorite shows, movies, comics,

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<v Speaker 1>and pop culture.

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<v Speaker 2>In this episode. On previously on, we're gonna be talking

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<v Speaker 2>about the buzz from the DC Slate, an outside.

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<v Speaker 1>The Buzz, the buzz and how much buzz Baby, how.

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<v Speaker 2>It may have been affecting some comic book sales in

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<v Speaker 2>a potentially positive way. In the airlock, we are going

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<v Speaker 2>to be talking about episode four of The Last of

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<v Speaker 2>Us on HBO Max, which sees a favor of ours

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<v Speaker 2>enter the Fray and in out we have a theory

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<v Speaker 2>about Deadpool entering the MCU, which you know, we're excited

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<v Speaker 2>about because we love theories.

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<v Speaker 1>Of course, if you want to jump around, check the

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<v Speaker 1>show notes for time stamps. Coming up. Previously on First

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<v Speaker 1>Up DC, more DC News reaction to the DC News

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<v Speaker 1>of last week when James Gunn and Peter Saffran unveiled

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<v Speaker 1>their much awaited DC Slate and folks, it's a hit.

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<v Speaker 1>The buzz is very positive. I mean, like, you know,

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<v Speaker 1>we were very excited by it. Every DC comic fan,

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<v Speaker 1>every comic fan I know, was super super excited about it.

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<v Speaker 1>I know a friend of mine who is a TV writer,

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<v Speaker 1>was like, I'm trying to talking to my agents, trying

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<v Speaker 1>to get that booster gold.

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<v Speaker 2>You know what I'm saying, Like I know that they are.

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<v Speaker 2>This is not the only stuff that they're trying to adapt,

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<v Speaker 2>Like James said, this is the chat stuff. So I'm like,

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<v Speaker 2>it's time to be going to d C. I want

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<v Speaker 2>to pitch. Yeah, I gotta love plan for a certain

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<v Speaker 2>Vertigo comic. You know, I think a lot of people do,

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<v Speaker 2>so I think it's an exciting time.

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<v Speaker 1>Yeah.

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<v Speaker 2>And one of the big news bumps was kind of this,

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<v Speaker 2>like James Gunn did something that a lot of people

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<v Speaker 2>in this industry do not do. James Gunn directly shouted

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<v Speaker 2>out the comics that would be influencing these movies, and

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<v Speaker 2>that tweet went off and everyone was like, more people

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<v Speaker 2>need to do this, Marvel, you need to do that,

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<v Speaker 2>and he specified, you know, as we said, it was

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<v Speaker 2>Batman and Robin by Grant Morrison. Frank quietly, we had

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<v Speaker 2>a Supergirl where Women of Tomorrow all start Superman. We

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<v Speaker 2>were right by the way, we were right, and like,

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<v Speaker 2>basically what happened was a lot of people decided they

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<v Speaker 2>wanted to buy these books. Now I know from anecdote

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<v Speaker 2>or evidence this is true. My comic shop Pop Fiction

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<v Speaker 2>in Long Beach, they had a lot of people coming

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<v Speaker 2>in to buy those books. And then James gun under

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<v Speaker 2>a tweet where he basically kind of report it shared

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<v Speaker 2>some reporting about how some of these books were selling

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<v Speaker 2>out on Amazon. Supergirl Women of Tomorrow was one of them. Now, look,

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<v Speaker 2>the comic book selling industry is very messyficial, and inefficient.

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<v Speaker 1>It's always been inefficient.

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<v Speaker 2>If you remember we were talking about it when Hawkeye

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<v Speaker 2>was coming out. Hawkeye, the collection by Matt Fraction and

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<v Speaker 2>David A. Ha had actually been out of print for

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<v Speaker 2>a long time and they didn't get it back in

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<v Speaker 2>stores when invinters came.

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<v Speaker 1>There's only like two printing houses. I love get this wrong,

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<v Speaker 1>but there's very few printers that actually do.

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<v Speaker 2>This work and a very huge bo very few distributors.

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<v Speaker 2>So when they say, oh, you know, Supergirl Woman of

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<v Speaker 2>Tomorrow has sold out on Amazon, that means they don't

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<v Speaker 2>have that many any left in their warehouse that they're

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<v Speaker 2>stopping from but you can go to your comic shop

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<v Speaker 2>and try and buy them. But this is great news

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<v Speaker 2>because it's always good to see comics selling, and this

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<v Speaker 2>is the impact that it can have to actually say

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<v Speaker 2>this is the com we're basing on. If you think

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<v Speaker 2>about Marvel, it is very rare to hear them say that.

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<v Speaker 2>Even when something like Captain America, when Soldier was directly

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<v Speaker 2>based on a comic, they were not out there promoting that.

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<v Speaker 2>So this is very cool. I love to see comics selling.

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<v Speaker 2>I think it's very buzzy and kind of like an

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<v Speaker 2>interesting technique. But if it basically bullies Marvel into shouting

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<v Speaker 2>out comics, creators and comics, I'll be happy. I'm like,

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<v Speaker 2>James Gunn, you're doing good work.

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<v Speaker 1>I wonder if that will happen more now. You know,

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<v Speaker 1>they do kind of obliquely gesture at the arcs and

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<v Speaker 1>the creators both with thanks in the movies and kind

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<v Speaker 1>of like and like they invite Toy to the premiere

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<v Speaker 1>and stuff. But this is yeah, this is the most

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<v Speaker 1>overt kind of like hear are the comics. This is

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<v Speaker 1>coming from kind of statement we've seen in this space.

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<v Speaker 1>But I will say also that it's really cool that

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<v Speaker 1>we're seeing the comics sell out. I think whether or

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<v Speaker 1>not that's accurate the buzz around it, Yeah, it's great.

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<v Speaker 1>It's a great look. And secondarily, like James Gunn directly

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<v Speaker 1>shouting out the comics, I also think is on the

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<v Speaker 1>one hand, he should do it, and it's a thing

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<v Speaker 1>to do. From a more cynical point of view, it's

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<v Speaker 1>also the way that James necessarily gestures to the you know,

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<v Speaker 1>the DC fan base that's been there, been active and

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<v Speaker 1>hoping for this kind of statement for years, to it

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<v Speaker 1>as a way of saying, hey, we know what we're doing,

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<v Speaker 1>we know where this stuff comes from. I've read this stuff,

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<v Speaker 1>I know about it. I'm deeply versed in it. You

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<v Speaker 1>know how many times have we heard James in that

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<v Speaker 1>statement and other times say like, DC means a lot

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<v Speaker 1>to me. I've been reading, you know, I've been in

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<v Speaker 1>that universe since I was a kid, and so this

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<v Speaker 1>is more of that, and you know, it's very interest

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<v Speaker 1>Hopefully we'll lift all boats.

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<v Speaker 2>I totally agree also, and I mean you can even

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<v Speaker 2>see I think the thing that's going to appeal to Marvel,

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<v Speaker 2>Disney all the places about this is like whatever the

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<v Speaker 2>reality of selling out, which such an exciting kind of terminology.

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<v Speaker 2>Is the Amazon Top Comics bestseller list is reflecting people's

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<v Speaker 2>interest in these books, and everybody loves to make money.

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<v Speaker 2>Who's a corporation? I will say, James Gunn, this is

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<v Speaker 2>so cool. I'm so glad you're doing it like everyone

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<v Speaker 2>I would mind. The next step of this is like,

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<v Speaker 2>make sure you're just shouting out those artists. The comics

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<v Speaker 2>don't exist without the artist. Bill Quis Everly also made

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<v Speaker 2>Women of Tomorrow, you know, Frank Quietly made All Star Superman,

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<v Speaker 2>Batman and Robin Like. That's the one thing is I

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<v Speaker 2>think we're still stuck in that idea of like Tom

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<v Speaker 2>King's Women of Tomorrow or Grant Morrison's you know, All

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<v Speaker 2>Star Superman. But we need let's do I'm not expecting

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<v Speaker 2>a full creator credit. You don't have to shout out

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<v Speaker 2>as much as I would love that, but let's just

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<v Speaker 2>let's just get to the point where when we share

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<v Speaker 2>those comics, we're shouting out the artists too, because this

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<v Speaker 2>medium doesn't exist without them.

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<v Speaker 1>But yeah, that's right.

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<v Speaker 2>I love to see it. Also, I was very happy

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<v Speaker 2>because after the Swamp Thing announcement, where they were like

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<v Speaker 2>it's going to be a dark horror story directed by

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<v Speaker 2>James Mangold. We can now pretty firmly say he's in

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<v Speaker 2>talks about it. They then shared the Alan Moore Swamp

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<v Speaker 2>Thing first volume and said this is what it's based on,

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<v Speaker 2>which is like a sexy, weird like romance book. So

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<v Speaker 2>I'm all, I'm happy about it. I'm happy about it.

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<v Speaker 2>It's going to be great.

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<v Speaker 1>Up next, dear luck Well, we're stepping out of the

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<v Speaker 1>airlock and into a piece of shit Chevy.

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<v Speaker 2>Pickup truck that feels like a spaceship.

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<v Speaker 1>This feels like a spaceship as we rode trip WestEd

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<v Speaker 1>to episode four of HBO's The Last of Us. This

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<v Speaker 1>episode titled Please Hold to My Hand, written by Craig Mason,

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<v Speaker 1>directed by Jeremy Webb, and we open with Ellie pointing

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<v Speaker 1>a gun into a mirror at herself and basically doing TAXI,

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<v Speaker 1>Are you talking to me? Are you talking to me?

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<v Speaker 1>She's got her gun. She's making little pewpew sound, she

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<v Speaker 1>pops the mag checks the rounds. She is so excited

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<v Speaker 1>to have her web.

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<v Speaker 2>But let's say congratulations to Ellie. She is a cheat.

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<v Speaker 2>She manifested this. She wanted a gun. She asked for

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<v Speaker 2>a gun, she made it, found a gun, she made

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<v Speaker 2>it happen, and guess what she was actually right, She

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<v Speaker 2>does need a gun, and we're gonna find out why

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<v Speaker 2>very soon.

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<v Speaker 1>Ellie got a gun. She's practicing with the gun, making

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<v Speaker 1>little pewpew sounds. She pops the Megan checks the rounds,

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<v Speaker 1>and then she returns to Joel. They are at a

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<v Speaker 1>rest stop. Joel is siphoning fuel and he's telling Ellie

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<v Speaker 1>both why they need to do this so often, because gas,

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<v Speaker 1>as I have been railing about, He exage a discord,

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<v Speaker 1>gas breaks down over time, like if you just leave

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<v Speaker 1>it in the tank, it'll break down over time, get

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<v Speaker 1>less effective. And so Joel is having to do this

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<v Speaker 1>a lot. And then he's explaining the physics behind how

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<v Speaker 1>siphoning works, and Ellie is roasting him because clearly he

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<v Speaker 1>doesn't actually know how it works. And then things take

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<v Speaker 1>a turn for really the dangerous, the tragic. Ellie pulls

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<v Speaker 1>out a book of puns. It's time for jokes. She says,

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<v Speaker 1>what did the mermaid? Where did her math class? And

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<v Speaker 1>algae bra and Joel is like, fuck this shit. Yes,

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<v Speaker 1>he's absolutely fed up.

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<v Speaker 2>With it.

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<v Speaker 1>They continue on the road. In this part of what

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<v Speaker 1>is officially the Midwest is just littered with vehicles. Ellie

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<v Speaker 1>is like, oh, I want to see a tank. I

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<v Speaker 1>hope I see a tank, and Joel's like, you will.

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<v Speaker 1>There'll be a tank out here because the military was

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<v Speaker 1>all around and very active in those days, and you

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<v Speaker 1>will definitely see a tank, Ellie. He shows Joel a

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<v Speaker 1>bunch of stuff that she scavenged from Bill and Franks

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<v Speaker 1>in that all too short a time that they spent.

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<v Speaker 2>Esske it.

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<v Speaker 1>First one Hank Williams cassette. Okay, she shaved it.

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<v Speaker 2>She's like, you're old, you like this and he's like, no,

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<v Speaker 2>that's before my time. But actually it's a banger, so

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<v Speaker 2>put it on.

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<v Speaker 1>Yeah, put it on. And then next up a bear

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<v Speaker 1>skin magazine done little porno mag action and this makes

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<v Speaker 1>Joel tremendously uncomfortable, which Ellie loves. And then Ellie says,

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<v Speaker 1>gosh in a in a by the way, in exchange

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<v Speaker 1>directly ripped from the video game, as much of this

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<v Speaker 1>episode actually was, she says, well, why are the pages

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<v Speaker 1>stuck together?

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<v Speaker 2>Joels is like h.

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<v Speaker 1>And She's like you, I'm fucking with you. And then

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<v Speaker 1>she throws it out the window, which I have to say,

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<v Speaker 1>this is a miss steak laden episode. Our characters make

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<v Speaker 1>a ton of mistakes this episode, and I would argue,

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<v Speaker 1>and I'm dead serious, I think this is one of them.

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<v Speaker 1>I'm not like that has value to somebody.

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<v Speaker 2>Dude, I'm saying, in a bing trading world. How much

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<v Speaker 2>gay porn is there left in this world? I don't know,

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<v Speaker 2>but not a lot. And this is a physical magazine

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<v Speaker 2>also base level, base level you could use it for fuel,

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<v Speaker 2>like you could burn it, do you know what I mean?

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<v Speaker 2>Like I feel like you're not survivally. This is they're

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<v Speaker 2>getting a bit comfortable, as we will see multiple times

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<v Speaker 2>this episode.

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<v Speaker 1>A lighter, two lighters or something, you know what.

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<v Speaker 2>I'm saying, Like there's probably will give you like one

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<v Speaker 2>ration card or just even just like some information or

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<v Speaker 2>just like making a friend, you know, like a Joel's

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<v Speaker 2>not really a friend guy, so an alliance. It seems silly. Also,

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<v Speaker 2>I will say I was very happy to see Ellie's

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<v Speaker 2>bad jokes making it into the show because that's again

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<v Speaker 2>it's like another key we get. This episode is just

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<v Speaker 2>like straight from the game. But yeah, as soon as

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<v Speaker 2>she threw that out of the window. I was like, hey,

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<v Speaker 2>don't do that. Don't know that, Like, what are you thinking.

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<v Speaker 1>Yeah. They drive on and at dusk Joel pulls off

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<v Speaker 1>the road. They make camp at a clearing in some

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<v Speaker 1>woods and for dinner, twenty year old chef boyardy. That

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<v Speaker 1>guy is good. Eliss.

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<v Speaker 2>I'm gonna say, just want to say scientific here. Yeah,

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<v Speaker 2>I've seen people open twenty year old cans of stuff.

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<v Speaker 2>It doesn't go that well, but I like the intention,

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<v Speaker 2>and you know what, I like that her and Joel

0:12:39.240 --> 0:12:41.160
<v Speaker 2>agree on this. Chef body is good.

0:12:42.000 --> 0:12:45.360
<v Speaker 1>Did they have that in England? Did chef make it

0:12:45.360 --> 0:12:45.719
<v Speaker 1>over there?

0:12:45.760 --> 0:12:48.400
<v Speaker 2>They don't have. He never made it there with his

0:12:48.440 --> 0:12:53.200
<v Speaker 2>Michelin Star canned restaurant. He was like, he was like,

0:12:53.240 --> 0:12:55.480
<v Speaker 2>it's too far. But they do have they have like

0:12:55.720 --> 0:12:59.880
<v Speaker 2>very very similar Hines actually makes like very similar situation

0:13:00.160 --> 0:13:00.600
<v Speaker 2>in England.

0:13:00.679 --> 0:13:07.360
<v Speaker 1>Okay, so Joel, they're making camp, They're eating and talking

0:13:07.360 --> 0:13:10.920
<v Speaker 1>about the trip ahead. Joel figures, Okay, if we get

0:13:10.920 --> 0:13:13.400
<v Speaker 1>out of here by first light, we should make Wyoming

0:13:13.440 --> 0:13:15.920
<v Speaker 1>by the day after, which is a good time. Ellie

0:13:16.520 --> 0:13:19.520
<v Speaker 1>asks if they can light a fire. She's cold, says no,

0:13:20.080 --> 0:13:22.800
<v Speaker 1>and not because as you might expect because there are

0:13:22.920 --> 0:13:25.400
<v Speaker 1>zombies out here, that's the infected her. I guess this

0:13:25.480 --> 0:13:29.240
<v Speaker 1>is too sparsely populated area for there to be a

0:13:29.440 --> 0:13:33.000
<v Speaker 1>pressing danger of infected, which I would still be like

0:13:33.240 --> 0:13:38.640
<v Speaker 1>fuck that, no, But because of people, people might see

0:13:38.640 --> 0:13:41.199
<v Speaker 1>the light, people might see what's going on. I would

0:13:41.400 --> 0:13:43.040
<v Speaker 1>as people are on a discord, we're saying, why wudn't

0:13:43.040 --> 0:13:44.839
<v Speaker 1>you sleep in the bed of the truck, I would

0:13:44.880 --> 0:13:46.079
<v Speaker 1>sleep under the truck.

0:13:45.880 --> 0:13:46.559
<v Speaker 2>Like I don't care.

0:13:47.280 --> 0:13:49.520
<v Speaker 1>I don't care if you tell me that there's no

0:13:49.720 --> 0:13:50.520
<v Speaker 1>infected out here.

0:13:50.640 --> 0:13:53.320
<v Speaker 2>I'm still like I'm sleeping like under the chat in

0:13:53.360 --> 0:13:58.160
<v Speaker 2>the front, under some tops, like I'm high. Joel's very

0:13:58.160 --> 0:14:03.160
<v Speaker 2>comfortable guy, He's very He's We will get to Joel

0:14:03.200 --> 0:14:05.760
<v Speaker 2>being way way too comfortable very soon.

0:14:06.160 --> 0:14:08.080
<v Speaker 1>They lay down to sleep, and then Ellie has a

0:14:08.160 --> 0:14:12.400
<v Speaker 1>very very serious question for Joel. She says, Joel, she

0:14:12.480 --> 0:14:16.480
<v Speaker 1>turns on her light. First of all, Joel, why did

0:14:16.480 --> 0:14:20.280
<v Speaker 1>the scarecrow get an award? And Joel, after a beat, says,

0:14:20.280 --> 0:14:22.960
<v Speaker 1>because he was outstanding in his field? You did did

0:14:23.000 --> 0:14:27.160
<v Speaker 1>you read this? And we get the first real smile,

0:14:27.880 --> 0:14:28.920
<v Speaker 1>crack of a smile.

0:14:29.800 --> 0:14:31.000
<v Speaker 2>It's at edge.

0:14:31.960 --> 0:14:35.360
<v Speaker 1>You love to see it. I was just laughing about, Okay,

0:14:35.360 --> 0:14:37.120
<v Speaker 1>we're not going to build a fire, because what if

0:14:37.160 --> 0:14:41.000
<v Speaker 1>people see would the like, how bad would it be

0:14:41.520 --> 0:14:44.640
<v Speaker 1>to get killed by raiders because they saw you light

0:14:44.680 --> 0:14:46.800
<v Speaker 1>your flashlight to read a book of puns?

0:14:47.080 --> 0:14:50.360
<v Speaker 2>I know, I know, seriously, I get it, like the

0:14:50.400 --> 0:14:52.640
<v Speaker 2>thing I love about and we're obviously like ragging. The

0:14:52.720 --> 0:14:55.560
<v Speaker 2>show is amazing. The episode is amazing. The point is

0:14:55.600 --> 0:14:57.960
<v Speaker 2>like the point of the whole story as we saw

0:14:58.000 --> 0:15:00.200
<v Speaker 2>the last episode, as we kind of get seen, is

0:15:00.240 --> 0:15:03.400
<v Speaker 2>about finding joy and those moments being worth that risk.

0:15:03.640 --> 0:15:06.240
<v Speaker 2>But in the moment when you're watching it, you're like, guys,

0:15:06.240 --> 0:15:07.880
<v Speaker 2>don't get your head chopped off by a guy with

0:15:07.920 --> 0:15:10.520
<v Speaker 2>a machete to read a joke, like please.

0:15:10.160 --> 0:15:14.160
<v Speaker 1>It is very good that they feel less fear they

0:15:14.240 --> 0:15:18.080
<v Speaker 1>live in this world they were you know exactly. Yeah,

0:15:18.280 --> 0:15:22.359
<v Speaker 1>she's just you know, as a kid would doesn't necessarily

0:15:22.360 --> 0:15:24.480
<v Speaker 1>feel the danger around her. But it's like, if you

0:15:24.560 --> 0:15:27.520
<v Speaker 1>air drop me into this into twenty twenty three of

0:15:29.160 --> 0:15:33.560
<v Speaker 1>you know, plus twenty years of an outbreak of fungal zombies,

0:15:33.640 --> 0:15:36.600
<v Speaker 1>I would be a mess all the time.

0:15:37.280 --> 0:15:40.200
<v Speaker 2>If I survived, I would be stressed. I would be

0:15:41.640 --> 0:15:45.440
<v Speaker 2>I'd be more of a bill pre pre meeting Frank,

0:15:45.600 --> 0:15:48.160
<v Speaker 2>like I would be like locked in my house. But

0:15:48.200 --> 0:15:50.920
<v Speaker 2>you know what, I do love. I think something about

0:15:50.920 --> 0:15:53.480
<v Speaker 2>this episode is after the power of episode three, this

0:15:53.520 --> 0:15:55.760
<v Speaker 2>could maybe feel a bit like a leading episode or

0:15:55.800 --> 0:15:58.440
<v Speaker 2>kind of an intro episode, But actually I do think

0:15:58.840 --> 0:16:04.600
<v Speaker 2>there is so much small, nuanced time that we get

0:16:04.640 --> 0:16:08.000
<v Speaker 2>to spend with Joel and Ellie here that you'll really

0:16:08.040 --> 0:16:10.560
<v Speaker 2>get and see that bonding and the kind of part

0:16:10.600 --> 0:16:15.680
<v Speaker 2>of the comfortable, the too comfortable situation therein is because

0:16:16.800 --> 0:16:19.680
<v Speaker 2>they're getting comfortable around each other and they're starting to

0:16:19.720 --> 0:16:22.560
<v Speaker 2>feel like there's someone who love.

0:16:22.440 --> 0:16:22.760
<v Speaker 1>To see it.

0:16:22.840 --> 0:16:26.000
<v Speaker 2>Yeah, you love to see it. It's gonna end badly currently,

0:16:26.080 --> 0:16:27.520
<v Speaker 2>but I love I do love to see it.

0:16:28.400 --> 0:16:31.520
<v Speaker 1>The next morning, Ellie sees coffee for the first time.

0:16:32.800 --> 0:16:36.840
<v Speaker 1>She is confounded by it. It stinks. Joel is like

0:16:36.960 --> 0:16:40.680
<v Speaker 1>just slurping it up in the car, making fun of

0:16:40.720 --> 0:16:45.080
<v Speaker 1>her for thinking it's gross, to which I was. I

0:16:45.120 --> 0:16:48.200
<v Speaker 1>was saying this in the discord. You know they're just

0:16:48.520 --> 0:16:51.320
<v Speaker 1>ripping ass in that car. Oh yeah, right, Like there's

0:16:51.360 --> 0:16:55.880
<v Speaker 1>no modesty. It's not like you're not hiding it in.

0:16:56.200 --> 0:16:58.800
<v Speaker 1>They just ate a can of twenty year old chef

0:16:58.800 --> 0:17:01.160
<v Speaker 1>boy or d and chase it with coffee twenty year

0:17:01.200 --> 0:17:06.240
<v Speaker 1>old coffee. Absolutely, there are big time farts being ripped

0:17:06.240 --> 0:17:06.680
<v Speaker 1>in that car.

0:17:06.760 --> 0:17:09.199
<v Speaker 2>It's happening, and it's and they're just like going with

0:17:09.200 --> 0:17:12.200
<v Speaker 2>it because the truth is that you're probably gonna see

0:17:12.240 --> 0:17:15.640
<v Speaker 2>someone turn into like an evil fungal monster at some point.

0:17:15.720 --> 0:17:17.359
<v Speaker 2>So it's like if you just be fought and like,

0:17:17.440 --> 0:17:18.200
<v Speaker 2>oh wow, yeah.

0:17:18.480 --> 0:17:21.040
<v Speaker 1>Ellie's like, so, uh, tell me where you're going again,

0:17:21.080 --> 0:17:25.159
<v Speaker 1>and Joel is like, uh so we're gonna uh my

0:17:25.200 --> 0:17:29.080
<v Speaker 1>brother Tommy. The last time I heard from him. Excuse me,

0:17:29.440 --> 0:17:32.960
<v Speaker 1>So last time I heard from Tommy he was close

0:17:33.040 --> 0:17:37.159
<v Speaker 1>to Cody Wyoming. And Ellie's like, yeah, let me just

0:17:37.240 --> 0:17:43.520
<v Speaker 1>check them out. Yeah, that's way up there. Uh so

0:17:43.600 --> 0:17:47.239
<v Speaker 1>that's very very far out. And then Joel opening up

0:17:47.280 --> 0:17:49.520
<v Speaker 1>now because recall it was not that long ago that

0:17:49.600 --> 0:17:52.520
<v Speaker 1>Joel was like hard ruled, don't ask me about my histories,

0:17:52.520 --> 0:17:53.320
<v Speaker 1>and I won't ask you.

0:17:53.760 --> 0:17:53.879
<v Speaker 2>Now.

0:17:53.920 --> 0:17:58.119
<v Speaker 1>All of a sudden, Joel is telling Ellie about Tommy.

0:17:58.200 --> 0:18:01.760
<v Speaker 1>He says, Tommy is what you call a dreamed of

0:18:01.840 --> 0:18:04.200
<v Speaker 1>becoming a hero. So he joined the army right out

0:18:04.200 --> 0:18:06.199
<v Speaker 1>of high school. A few months later, they shipped him

0:18:06.200 --> 0:18:09.399
<v Speaker 1>off the desert storm. Twelve years later, outbreak happens and

0:18:09.440 --> 0:18:11.399
<v Speaker 1>he convinces me to join a group making their way

0:18:11.480 --> 0:18:15.679
<v Speaker 1>up to Boston, and Joel basically says he did to

0:18:15.760 --> 0:18:18.520
<v Speaker 1>keep an eye on Tommy, keep him out of trouble,

0:18:18.560 --> 0:18:22.479
<v Speaker 1>and that's where he met Tess. Some point after Tommy

0:18:22.520 --> 0:18:26.440
<v Speaker 1>fell in with Marlene and the Fireflies, and Joel says,

0:18:26.480 --> 0:18:28.840
<v Speaker 1>of that same mistake he made when he was eighteen.

0:18:28.920 --> 0:18:32.240
<v Speaker 1>He wants to save the world, and last Joel heard,

0:18:32.240 --> 0:18:35.439
<v Speaker 1>Tommy had quit the Fireflies and now he's I guess,

0:18:35.480 --> 0:18:38.040
<v Speaker 1>floating around on his own somewhere out in Wyoming doing

0:18:38.480 --> 0:18:45.000
<v Speaker 1>who knows what. Ellie asks Joel a very important question,

0:18:45.040 --> 0:18:48.720
<v Speaker 1>which is how does he keep going without any hope

0:18:48.800 --> 0:18:50.840
<v Speaker 1>that the world can be better? Like, how do you

0:18:50.960 --> 0:18:57.320
<v Speaker 1>just do that? And Joel says, basically, you don't understand what.

0:18:57.520 --> 0:18:59.359
<v Speaker 1>You haven't seen the things I've seen. You haven't been

0:18:59.400 --> 0:19:01.560
<v Speaker 1>out here, been out here. I understand what the world

0:19:01.640 --> 0:19:05.080
<v Speaker 1>is like. You see this hopeless existence that I'm living.

0:19:05.280 --> 0:19:08.280
<v Speaker 1>I'm living a realistic existence. You don't understand that. And

0:19:08.320 --> 0:19:10.120
<v Speaker 1>then he tells her you keep going for family. That's

0:19:10.160 --> 0:19:14.040
<v Speaker 1>about it. Ellie is like, oh, like me, and he's like, no,

0:19:14.480 --> 0:19:16.840
<v Speaker 1>not like you. I made a promise to test that.

0:19:16.920 --> 0:19:19.520
<v Speaker 2>Yeah. He's like you are cargo.

0:19:19.960 --> 0:19:21.359
<v Speaker 1>Your cargo flat out.

0:19:21.880 --> 0:19:26.280
<v Speaker 2>Yeah, which I think you actually make a really good point.

0:19:26.320 --> 0:19:28.240
<v Speaker 2>I actually think this is more of like a defense

0:19:28.280 --> 0:19:30.720
<v Speaker 2>mechanism because, like you said, Joel had said, oh, don't

0:19:30.720 --> 0:19:32.399
<v Speaker 2>talk to me about my family, don't talk to me

0:19:32.440 --> 0:19:35.320
<v Speaker 2>about this, and then suddenly he's like opening up. He's

0:19:35.359 --> 0:19:37.920
<v Speaker 2>talking about this person that he also doesn't even really

0:19:37.960 --> 0:19:40.840
<v Speaker 2>talk to tests about, like like Tommy is like off

0:19:40.880 --> 0:19:44.119
<v Speaker 2>limits because of their argument and their beef about the fireflies.

0:19:44.400 --> 0:19:46.600
<v Speaker 2>But then he's just telling this girl. So it's that

0:19:46.720 --> 0:19:48.840
<v Speaker 2>moment when she's like, so, am I family and he's

0:19:48.880 --> 0:19:50.720
<v Speaker 2>got to be like, no, no, your cargo. I don't

0:19:50.760 --> 0:19:54.119
<v Speaker 2>you don't mean anything, because yeah, it's such an iconic

0:19:54.200 --> 0:19:57.920
<v Speaker 2>moment and it's like you're just cargo. It's like, sure, bro,

0:19:58.080 --> 0:19:58.560
<v Speaker 2>not to mention.

0:19:58.880 --> 0:20:01.800
<v Speaker 1>Not to mention the You know, there's going to be

0:20:01.840 --> 0:20:06.360
<v Speaker 1>more moments that call to mind Sarah and particularly there

0:20:06.440 --> 0:20:09.280
<v Speaker 1>last night, but like here's Joel in the truck with

0:20:09.359 --> 0:20:12.439
<v Speaker 1>a teenage girl in the Apocalypse.

0:20:11.840 --> 0:20:15.879
<v Speaker 2>And Tommy's still in the conversation, so still in the conversation,

0:20:16.040 --> 0:20:18.600
<v Speaker 2>you know, like it's happening again. Actually, that's such a

0:20:18.600 --> 0:20:23.359
<v Speaker 2>good point because also when Sarah and Joel first escape

0:20:23.400 --> 0:20:26.040
<v Speaker 2>out of the car, all Sarah's doing is asking about Tommy.

0:20:26.080 --> 0:20:27.920
<v Speaker 2>Where's Tommy? How do we get back to Uncle Tommy?

0:20:28.000 --> 0:20:30.920
<v Speaker 2>We can't leave him behind. So even that conversation coming

0:20:30.960 --> 0:20:32.800
<v Speaker 2>from a different place with Ellie, who just wants to

0:20:33.000 --> 0:20:36.080
<v Speaker 2>have more context, she's also still asking where's Tommy? Like

0:20:36.080 --> 0:20:37.959
<v Speaker 2>it's that's such a great point.

0:20:38.280 --> 0:20:40.879
<v Speaker 1>So Ellie nods off, and then he says about Tommy.

0:20:41.080 --> 0:20:42.760
<v Speaker 1>You know. Ellie asks, how can you be sure you're

0:20:42.720 --> 0:20:45.800
<v Speaker 1>gonna find him? And Joel says, I think the one

0:20:45.880 --> 0:20:50.040
<v Speaker 1>most important thing about him as a character, I'm persistent Joel.

0:20:51.320 --> 0:20:53.320
<v Speaker 1>As we were going to see in this episode very shortly,

0:20:54.000 --> 0:20:57.520
<v Speaker 1>when Joel gets an idea in his head, you can't

0:20:57.520 --> 0:20:59.280
<v Speaker 1>get it out. You're not going to get it out

0:20:59.280 --> 0:21:04.800
<v Speaker 1>of his head. He's for better, often for worse, and

0:21:04.880 --> 0:21:08.320
<v Speaker 1>hopefully for better. Ellie nodge off when she wakes up.

0:21:08.760 --> 0:21:11.680
<v Speaker 1>The truck is on a highway entrance to Kansas City,

0:21:11.800 --> 0:21:14.919
<v Speaker 1>and the way through is, as one would expect, blocked,

0:21:14.960 --> 0:21:17.399
<v Speaker 1>and it looks very suspiciously blocked.

0:21:17.560 --> 0:21:19.440
<v Speaker 2>Yeah, it's purposefully blocked.

0:21:19.560 --> 0:21:20.840
<v Speaker 1>It's purposefully blocked.

0:21:20.920 --> 0:21:23.560
<v Speaker 2>And if you're a game guy here and you're like, oh,

0:21:23.560 --> 0:21:26.040
<v Speaker 2>this has been very close to the game. Now we're diverging,

0:21:26.200 --> 0:21:28.720
<v Speaker 2>you can basically just Kansas City is standing in here

0:21:28.720 --> 0:21:32.359
<v Speaker 2>for Pittsburg. We don't know why, the exact choice, but

0:21:32.480 --> 0:21:35.160
<v Speaker 2>this was this is basically the chapter in the game

0:21:35.280 --> 0:21:37.399
<v Speaker 2>that was Pittsburg. And you will recognize that as soon

0:21:37.440 --> 0:21:38.639
<v Speaker 2>as you see the blocked street.

0:21:38.680 --> 0:21:43.760
<v Speaker 1>That's exactly right. So they're stopped at this roadblock. Joel

0:21:43.760 --> 0:21:46.359
<v Speaker 1>gets out to briefly kind of examine it, comes back,

0:21:46.520 --> 0:21:49.560
<v Speaker 1>Ellie's got the map. They look and they're trying to

0:21:49.560 --> 0:21:51.520
<v Speaker 1>figure out, okay, like how far back do we have

0:21:51.600 --> 0:21:54.600
<v Speaker 1>to go before we can get around this? And then

0:21:55.080 --> 0:21:58.920
<v Speaker 1>the answer must be too far. And Joel thinking about,

0:21:59.240 --> 0:22:02.000
<v Speaker 1>you know, much like Bill thinking about resource management. How

0:22:02.040 --> 0:22:04.720
<v Speaker 1>many times I get fucking siphon gas? How many times

0:22:04.720 --> 0:22:05.680
<v Speaker 1>I get to siphon gas?

0:22:05.680 --> 0:22:05.880
<v Speaker 2>Here?

0:22:06.640 --> 0:22:09.840
<v Speaker 1>Do I want to do that? And he decides no, Instead,

0:22:09.840 --> 0:22:12.520
<v Speaker 1>I'm gonna Leroy Jenkins this fucking roadblock and we're just

0:22:12.520 --> 0:22:14.120
<v Speaker 1>gonna cut through the city and find a way through.

0:22:14.240 --> 0:22:16.040
<v Speaker 1>That's it. We'll be back on the road in a minute.

0:22:16.080 --> 0:22:20.320
<v Speaker 2>Tops he says, from New York, Bro, this is a

0:22:20.480 --> 0:22:25.440
<v Speaker 2>bad yeah, Like just.

0:22:23.680 --> 0:22:26.760
<v Speaker 1>Just go that horror movie one on one the lies.

0:22:26.920 --> 0:22:30.159
<v Speaker 2>They literally just came from an area where it was

0:22:30.240 --> 0:22:34.600
<v Speaker 2>so uninfected and so like just no one there that

0:22:34.680 --> 0:22:37.120
<v Speaker 2>they could sleep outside. Like, just go back and find

0:22:37.119 --> 0:22:40.200
<v Speaker 2>a different way around. Do not go through the city. Especially.

0:22:40.520 --> 0:22:43.119
<v Speaker 2>This is especially dumb because, as Joel is about to reveal,

0:22:43.520 --> 0:22:45.800
<v Speaker 2>he has also been on the other side of this.

0:22:46.320 --> 0:22:47.560
<v Speaker 1>He's done ambushes before.

0:22:47.600 --> 0:22:48.080
<v Speaker 2>So what happens?

0:22:48.080 --> 0:22:51.800
<v Speaker 1>They get an ambush, almost like shocking. They're driving past

0:22:51.920 --> 0:22:55.360
<v Speaker 1>what turns out to be the abandoned QZ. Something has

0:22:55.359 --> 0:22:58.120
<v Speaker 1>happened to the QZ where it's the doors are flung open.

0:22:58.720 --> 0:23:02.680
<v Speaker 1>They've they've been feder has been either overrun or overthrown.

0:23:03.480 --> 0:23:07.040
<v Speaker 1>And as soon as they see that, they see a

0:23:07.119 --> 0:23:10.639
<v Speaker 1>guy down the road who appears appears to be injured

0:23:10.680 --> 0:23:13.399
<v Speaker 1>and he's calling for help. Joel immediately sniffs out that

0:23:13.440 --> 0:23:16.199
<v Speaker 1>this is an ambush. He floors it. Next thing you know,

0:23:16.200 --> 0:23:19.159
<v Speaker 1>a cinderblock is crashing through the windshield. Next thing you know,

0:23:19.200 --> 0:23:22.000
<v Speaker 1>the truck is running over a board studded with nails.

0:23:22.240 --> 0:23:25.040
<v Speaker 1>Next thing you know, the truck is getting shot at

0:23:25.400 --> 0:23:27.080
<v Speaker 1>this one like he does bad.

0:23:27.359 --> 0:23:28.679
<v Speaker 2>He should have reversed as soon.

0:23:28.560 --> 0:23:30.560
<v Speaker 1>As he saw the guy, and next thing you know,

0:23:30.600 --> 0:23:32.560
<v Speaker 1>the truck is crashing into a garage.

0:23:32.600 --> 0:23:35.880
<v Speaker 2>Now, bill's the oldest time.

0:23:36.359 --> 0:23:40.160
<v Speaker 1>I'll point out a couple of things. One, the batting

0:23:40.200 --> 0:23:42.960
<v Speaker 1>average of riding in a truck with Joel is bad

0:23:46.040 --> 0:23:52.000
<v Speaker 1>against number two. I will point out that immediately Joel

0:23:52.080 --> 0:23:55.240
<v Speaker 1>is like, are you hurt or you yes? Because why

0:23:55.440 --> 0:23:59.199
<v Speaker 1>because here it is it's happening again. He's riding in

0:23:59.240 --> 0:24:04.000
<v Speaker 1>a truck running from dangerous and his enemy.

0:24:04.080 --> 0:24:07.040
<v Speaker 2>Is the problem again because because he's his stubbornness. Because

0:24:07.080 --> 0:24:09.440
<v Speaker 2>with Joel and Tommy it's this, it's this same thing.

0:24:09.480 --> 0:24:12.280
<v Speaker 2>When then the opening night with Sarah is like he's

0:24:12.440 --> 0:24:14.240
<v Speaker 2>convinced they have to just keep going through, they have

0:24:14.280 --> 0:24:16.240
<v Speaker 2>to keep going through, and he makes that same mistake

0:24:16.280 --> 0:24:18.080
<v Speaker 2>here again. He could have reversed, They could have gone

0:24:18.119 --> 0:24:19.960
<v Speaker 2>a different way around, they could have gone a different route.

0:24:20.040 --> 0:24:22.560
<v Speaker 2>America is a big country. He knows he fucked up.

0:24:22.760 --> 0:24:24.959
<v Speaker 2>And here again is a teenage girl who is in

0:24:24.960 --> 0:24:28.600
<v Speaker 2>his care who suddenly has to deal with It's not

0:24:28.680 --> 0:24:30.680
<v Speaker 2>just the car crash this time it's an ambush. These

0:24:30.720 --> 0:24:33.119
<v Speaker 2>are not infected. It's like we're getting to that play.

0:24:33.160 --> 0:24:35.560
<v Speaker 2>This is that important pivotal episode that we've kind of

0:24:35.560 --> 0:24:38.280
<v Speaker 2>been hinting towards and talking about in all zombie law.

0:24:38.320 --> 0:24:41.520
<v Speaker 2>And yes, the infected are not undead. The the corterceps

0:24:41.560 --> 0:24:44.320
<v Speaker 2>cannot bring the dead back to life. But zombie is

0:24:44.320 --> 0:24:46.480
<v Speaker 2>a catchual. You know, it's the ghouls, it's the it's

0:24:46.520 --> 0:24:49.760
<v Speaker 2>the quarter sceps infected, but you know they are not

0:24:49.920 --> 0:24:52.680
<v Speaker 2>the real threat. The real threat is the humans. That's

0:24:52.760 --> 0:24:56.480
<v Speaker 2>always the way all of these stories, whether it's The Road,

0:24:56.840 --> 0:24:58.800
<v Speaker 2>whether it's you know, Night of the Living Dead, the

0:24:58.840 --> 0:25:03.480
<v Speaker 2>real threat is humans and the brutality that they will

0:25:03.560 --> 0:25:06.520
<v Speaker 2>enact to protect themselves. Or you know, think about the

0:25:06.560 --> 0:25:09.040
<v Speaker 2>Walking Dead. You've got cannibals, You've got all kinds of

0:25:09.040 --> 0:25:12.320
<v Speaker 2>different spaces and people who will do whatever they need

0:25:12.359 --> 0:25:15.240
<v Speaker 2>to do to survive. And Joel just realizes he's put

0:25:15.320 --> 0:25:18.800
<v Speaker 2>Ellie into that very situation that he's allegedly been trying

0:25:18.840 --> 0:25:20.560
<v Speaker 2>to kind of avoid and protect that from.

0:25:20.800 --> 0:25:23.600
<v Speaker 1>And so here is Joel. It's his mistake and he

0:25:23.680 --> 0:25:27.399
<v Speaker 1>knows it. He may have just consigned a girl in

0:25:27.480 --> 0:25:31.680
<v Speaker 1>his care to death. Again, just as happened, just as

0:25:31.720 --> 0:25:36.480
<v Speaker 1>happened years ago. He's freaking out about it, Are you okay?

0:25:36.640 --> 0:25:39.960
<v Speaker 1>He immediately this gunfight is going on. He immediately sends

0:25:39.960 --> 0:25:42.160
<v Speaker 1>her to safety through like a hole in the wall

0:25:42.240 --> 0:25:43.880
<v Speaker 1>to like hang out on the other side of the wall.

0:25:44.400 --> 0:25:46.720
<v Speaker 1>He takes out two of the attackers with his gun,

0:25:48.640 --> 0:25:51.360
<v Speaker 1>loses sight of a third who sneaks up behind him,

0:25:51.680 --> 0:25:54.240
<v Speaker 1>gets the drop on him, and now it's one of

0:25:54.320 --> 0:25:58.840
<v Speaker 1>those famous smash square button yeah fights where Joel is

0:25:58.920 --> 0:26:01.120
<v Speaker 1>trying to hold off this guy that's on top of him.

0:26:00.960 --> 0:26:03.360
<v Speaker 2>And the guy's like choking him with a gun, choking him.

0:26:03.640 --> 0:26:06.560
<v Speaker 1>Ellie is watching this happen and she realizes, oh, I

0:26:06.560 --> 0:26:09.040
<v Speaker 1>have a gun. She gets her gun out of the knapsack,

0:26:09.240 --> 0:26:12.120
<v Speaker 1>walks up, shoots the guy in the back and it's

0:26:12.480 --> 0:26:16.479
<v Speaker 1>now it is this really I thought affecting moment where

0:26:17.560 --> 0:26:19.879
<v Speaker 1>it reminded me of the kind of the death at

0:26:19.920 --> 0:26:22.800
<v Speaker 1>the end of Saving Private Ryan, where like, I forget

0:26:22.840 --> 0:26:25.399
<v Speaker 1>the name of the character who's just like as the

0:26:25.520 --> 0:26:27.760
<v Speaker 1>Nazi is about to plunge the knife into his chest,

0:26:27.840 --> 0:26:30.040
<v Speaker 1>is like, oh no, no, no, no, a time out

0:26:30.080 --> 0:26:32.720
<v Speaker 1>time after you know, like, now this this guy who

0:26:32.760 --> 0:26:33.919
<v Speaker 1>is very young, a young man.

0:26:34.000 --> 0:26:35.800
<v Speaker 2>Yeah, you realize he's basically a kid.

0:26:36.359 --> 0:26:40.080
<v Speaker 1>Yeah, is like, oh no, no, we're not fighting anymore.

0:26:40.920 --> 0:26:43.040
<v Speaker 1>That we didn't need to do this.

0:26:43.040 --> 0:26:44.280
<v Speaker 2>This is a good knife.

0:26:44.560 --> 0:26:46.480
<v Speaker 1>My mom is close by, you could take me to her.

0:26:47.280 --> 0:26:50.320
<v Speaker 1>Begging for his life, pleading for his life in a

0:26:50.359 --> 0:26:54.840
<v Speaker 1>way that honestly felt like this is what I would do.

0:26:55.200 --> 0:26:57.119
<v Speaker 1>I would be It was sucking life.

0:26:57.520 --> 0:27:01.560
<v Speaker 2>And it's so sad because it shows that the way

0:27:01.640 --> 0:27:04.439
<v Speaker 2>the disassociative nature of what people are having to do

0:27:04.520 --> 0:27:07.560
<v Speaker 2>in this world. He was ready to kill Joel and

0:27:07.560 --> 0:27:09.560
<v Speaker 2>Ellie like a little kid. He was just ready to

0:27:09.560 --> 0:27:11.719
<v Speaker 2>do it. But the moment that he realized that he

0:27:11.800 --> 0:27:13.879
<v Speaker 2>was on the other side of it, he suddenly has

0:27:13.960 --> 0:27:16.520
<v Speaker 2>this human realization of oh my god, I don't want

0:27:16.560 --> 0:27:17.120
<v Speaker 2>to die.

0:27:17.520 --> 0:27:21.080
<v Speaker 1>It was a wise I think it was so affecting

0:27:21.160 --> 0:27:26.320
<v Speaker 1>and I think important to do because this is a

0:27:26.400 --> 0:27:28.679
<v Speaker 1>story based on a game in which, in the course

0:27:28.720 --> 0:27:32.120
<v Speaker 1>of carrying out the story, you, as Joel, will likely

0:27:32.200 --> 0:27:35.080
<v Speaker 1>kill three hundred four hundred at least some large amount

0:27:35.119 --> 0:27:39.000
<v Speaker 1>of people. And so here is a really important moment

0:27:39.080 --> 0:27:41.679
<v Speaker 1>where that taking of a life is brought home. The

0:27:41.720 --> 0:27:43.720
<v Speaker 1>importancye the impact of it, and you know what it's

0:27:43.720 --> 0:27:44.280
<v Speaker 1>brought into this.

0:27:44.440 --> 0:27:46.480
<v Speaker 2>That's such a great point because I think something that's

0:27:46.520 --> 0:27:49.959
<v Speaker 2>always dangerous, and I'm someone I love action movies. I

0:27:49.960 --> 0:27:52.840
<v Speaker 2>love John Wick, you know, a gun Fu movie where

0:27:52.840 --> 0:27:55.679
<v Speaker 2>you're constantly seeing people being shot. But something about gaming

0:27:55.760 --> 0:27:58.320
<v Speaker 2>and like first person shooter games and games where you

0:27:58.440 --> 0:28:03.399
<v Speaker 2>are current always killing, you can lose the impact of death.

0:28:04.200 --> 0:28:07.679
<v Speaker 2>And instead here, instead of showing testing Joel killing hundreds

0:28:07.680 --> 0:28:10.160
<v Speaker 2>of people blah blah blah blah, here what you see

0:28:10.160 --> 0:28:13.840
<v Speaker 2>instead is this incredibly intimate reality of what it's like

0:28:14.000 --> 0:28:17.439
<v Speaker 2>to take a life and it is such a responsible,

0:28:18.040 --> 0:28:22.760
<v Speaker 2>heartbreaking interesting and instead of him just like sniping someone

0:28:22.760 --> 0:28:24.200
<v Speaker 2>out of a window, which you do in the game,

0:28:24.280 --> 0:28:26.560
<v Speaker 2>you know, those kind of things like or shooting someone

0:28:26.600 --> 0:28:29.480
<v Speaker 2>from Afar with a gun. There's so much emotion here,

0:28:29.800 --> 0:28:36.760
<v Speaker 2>and then there's this really like scary, sad, kind of horrible,

0:28:36.920 --> 0:28:41.120
<v Speaker 2>dread inducing moment where Joel tells Ellie go back, go back,

0:28:43.240 --> 0:28:45.360
<v Speaker 2>and the guy is begging Ellie like, don't go, because

0:28:45.360 --> 0:28:47.880
<v Speaker 2>he's not gonna do it if you're here, and Ellie

0:28:47.920 --> 0:28:50.360
<v Speaker 2>just turns around and walks away, and the guy starts

0:28:50.600 --> 0:28:52.800
<v Speaker 2>and you realize that Joel's gonna kill him.

0:28:52.840 --> 0:28:57.760
<v Speaker 1>So Joel finishes the man off with his knife and

0:28:57.760 --> 0:29:00.640
<v Speaker 1>and Joel and Ellie come back together. They now have

0:29:00.760 --> 0:29:04.000
<v Speaker 1>to hide, they have to run from the reinforcements that

0:29:04.080 --> 0:29:08.480
<v Speaker 1>they know are coming. And this is incredible acting by

0:29:08.480 --> 0:29:12.120
<v Speaker 1>Bella because here Ellie is she just killed somebody. I

0:29:12.120 --> 0:29:14.200
<v Speaker 1>know she didn't finish him off, but she for all

0:29:14.200 --> 0:29:17.280
<v Speaker 1>intents and purposes, just killed the guy and watched him

0:29:17.280 --> 0:29:22.160
<v Speaker 1>beg for his life. And she is trying to play

0:29:22.160 --> 0:29:24.920
<v Speaker 1>it off like she's fine, Hey, so, uh yeah, I

0:29:24.960 --> 0:29:27.040
<v Speaker 1>packed my gun up and let's uh, we should I

0:29:27.040 --> 0:29:28.840
<v Speaker 1>saw a tall building over there, we should probably get

0:29:28.840 --> 0:29:31.240
<v Speaker 1>an advantage point. I'm good, by the way, I'm fine,

0:29:31.280 --> 0:29:32.040
<v Speaker 1>don't worry about me.

0:29:32.240 --> 0:29:36.240
<v Speaker 2>And this is where Joel his paternal instincts start coming out,

0:29:36.280 --> 0:29:39.840
<v Speaker 2>because to him, this is something this is something Sarah

0:29:39.880 --> 0:29:42.840
<v Speaker 2>never had to do. And for some reason in Joel's

0:29:42.880 --> 0:29:46.520
<v Speaker 2>like very blurry moral compass, the idea that a kid

0:29:46.880 --> 0:29:50.360
<v Speaker 2>has to kill someone is really horrific. And he keeps saying,

0:29:50.880 --> 0:29:53.080
<v Speaker 2>you shouldn't have to do that your age, are you okay?

0:29:53.120 --> 0:29:55.240
<v Speaker 2>And Ellie's like I'm fine, I'm fine, Like let's just

0:29:55.280 --> 0:29:57.680
<v Speaker 2>go like I'm fine, you know, and you start to

0:29:57.680 --> 0:29:59.800
<v Speaker 2>get some of that gameplay where you're hiding through this

0:29:59.840 --> 0:30:02.600
<v Speaker 2>sh streets kind of China. You've got to stealth your

0:30:02.640 --> 0:30:06.600
<v Speaker 2>way through avoiding these you know, they don't name them this,

0:30:06.800 --> 0:30:08.880
<v Speaker 2>but we know from the game that this is some

0:30:09.040 --> 0:30:11.800
<v Speaker 2>kind of representation of the Hunters and people who are

0:30:11.800 --> 0:30:15.120
<v Speaker 2>part of that that Hunter community. I think Neil Drugman

0:30:15.160 --> 0:30:17.760
<v Speaker 2>actually spoke about this in an interview, saying that like

0:30:18.320 --> 0:30:19.880
<v Speaker 2>this is going to be, they're going to serve a

0:30:19.880 --> 0:30:23.200
<v Speaker 2>different purpose in the game. They're direct antagonists without much

0:30:23.240 --> 0:30:26.320
<v Speaker 2>more expansion, But as we see from this episode and

0:30:26.360 --> 0:30:29.120
<v Speaker 2>the arrival of one of our favorite actresses who's about

0:30:29.160 --> 0:30:32.360
<v Speaker 2>to turn up soon, Melanielinski, this is going to be

0:30:32.360 --> 0:30:35.960
<v Speaker 2>a more complex and probably play a far bigger part

0:30:36.000 --> 0:30:36.920
<v Speaker 2>than they did in the game.

0:30:37.520 --> 0:30:49.760
<v Speaker 1>Agreed, X Ray Vision will be back, and we're back.

0:30:50.200 --> 0:30:52.880
<v Speaker 1>Joel and Ellie head off. They're dodging arm patrols. They're

0:30:52.920 --> 0:30:55.840
<v Speaker 1>looking for a hiding spot, and we go elsewhere in

0:30:55.880 --> 0:31:01.640
<v Speaker 1>the city where we find Kathleen played by Melanie Lynsky

0:31:01.840 --> 0:31:04.920
<v Speaker 1>in what used to be a federal facility surely is

0:31:05.080 --> 0:31:09.440
<v Speaker 1>not now a FEDERI jail cell. She is interrogating a

0:31:09.440 --> 0:31:11.840
<v Speaker 1>prisoner who we soon come to find out as a doctor,

0:31:11.880 --> 0:31:15.320
<v Speaker 1>and she's reading a list of names, clearly dissidents who

0:31:15.320 --> 0:31:17.760
<v Speaker 1>are in hiding from her group. And I think the

0:31:17.840 --> 0:31:20.280
<v Speaker 1>thing that we can kind of piece together from this

0:31:20.360 --> 0:31:27.560
<v Speaker 1>in other conversations is Kathleen, whose family was unjustly wronged

0:31:27.600 --> 0:31:30.640
<v Speaker 1>by fed her brother apparently beaten to death in these

0:31:30.840 --> 0:31:37.560
<v Speaker 1>very same interrogation cells. Kathleen sparked led whatever a rebellion

0:31:37.600 --> 0:31:40.920
<v Speaker 1>against fed Yes, which she now is continuing to lead,

0:31:41.520 --> 0:31:45.440
<v Speaker 1>And what is happening now is a mop up operation

0:31:45.680 --> 0:31:52.520
<v Speaker 1>where she is kind of organizing the hunt for feder

0:31:52.720 --> 0:31:55.680
<v Speaker 1>collaborators so that they can we can only assume, be

0:31:55.720 --> 0:31:56.880
<v Speaker 1>put to death, right, Yeah.

0:31:57.440 --> 0:32:00.440
<v Speaker 2>And I think as well as this implication here in

0:32:00.480 --> 0:32:02.719
<v Speaker 2>the game, the hunters anyone who crosses that path, they

0:32:02.760 --> 0:32:04.880
<v Speaker 2>call them tourists, and they just kill them. And I

0:32:04.920 --> 0:32:09.920
<v Speaker 2>think there's this implication where even if you maybe want

0:32:09.920 --> 0:32:12.480
<v Speaker 2>connected to FEDRA, if you show up and you came

0:32:12.520 --> 0:32:16.840
<v Speaker 2>from another QZ, you're a Federick collaborator. Like there's no

0:32:17.040 --> 0:32:20.360
<v Speaker 2>question here. This is just an assumption they make and

0:32:20.400 --> 0:32:21.320
<v Speaker 2>they will kill you.

0:32:22.280 --> 0:32:29.160
<v Speaker 1>So Kathleen is saying, it tells this doctor, Hey, you

0:32:29.200 --> 0:32:32.640
<v Speaker 1>know my brother was killed in these cells, like you

0:32:32.680 --> 0:32:35.240
<v Speaker 1>know what about that? And the doctor is saying, you're wrong.

0:32:35.320 --> 0:32:38.440
<v Speaker 1>I'm sorry, but this has to stop, whatever this rebellion

0:32:38.440 --> 0:32:42.040
<v Speaker 1>that Kathleen has fomented, And she says, I think something

0:32:42.080 --> 0:32:46.160
<v Speaker 1>that's you know, really honestly is pretty authoritative. If I

0:32:46.320 --> 0:32:48.920
<v Speaker 1>disagree with her methods, but I think this is pretty strong.

0:32:48.960 --> 0:32:51.280
<v Speaker 1>She says, this is this has to stop now, you

0:32:51.320 --> 0:32:54.320
<v Speaker 1>mean when you're in the cell, And she points out

0:32:54.320 --> 0:32:57.840
<v Speaker 1>that now that this person who was protected and felt secure,

0:32:58.360 --> 0:33:00.680
<v Speaker 1>now that he's put in danger and his skin and

0:33:00.760 --> 0:33:01.960
<v Speaker 1>is in the game, all of a sudden, oh no,

0:33:02.040 --> 0:33:04.200
<v Speaker 1>we got to put a stop to this. But previously,

0:33:04.520 --> 0:33:06.880
<v Speaker 1>when the regime that he was supporting was doing the

0:33:06.960 --> 0:33:09.040
<v Speaker 1>very same things that they are now doing, it was

0:33:09.840 --> 0:33:10.680
<v Speaker 1>had very.

0:33:10.520 --> 0:33:13.360
<v Speaker 2>Little and we know fed was literally like hanging people

0:33:13.360 --> 0:33:15.720
<v Speaker 2>in the street like they were brutal.

0:33:16.560 --> 0:33:19.560
<v Speaker 1>So the man points out that while I was doing

0:33:19.560 --> 0:33:21.200
<v Speaker 1>that under dress, I had a gun to my head.

0:33:21.280 --> 0:33:23.240
<v Speaker 1>So she pulls out a gun and says, okay, what

0:33:23.320 --> 0:33:25.560
<v Speaker 1>about Now, where are the people I'm looking for? And

0:33:25.640 --> 0:33:29.840
<v Speaker 1>she seems she is particularly interested in finding a man

0:33:29.920 --> 0:33:35.440
<v Speaker 1>named Henry Burrell, who apparently put the finger on Kathleen's

0:33:35.480 --> 0:33:38.080
<v Speaker 1>brother or perhaps the rest of her family to Fedra

0:33:38.560 --> 0:33:41.240
<v Speaker 1>and is now in hiding somewhere in the city. Kathleen knows,

0:33:41.240 --> 0:33:42.200
<v Speaker 1>and she desperately.

0:33:42.520 --> 0:33:45.280
<v Speaker 2>Yeah, she's like obsessed with him, and she kind of

0:33:45.320 --> 0:33:49.640
<v Speaker 2>has this paranoid feeling that he's kind of planning something.

0:33:49.680 --> 0:33:52.239
<v Speaker 2>This is his work whatever. She sees him as this

0:33:52.280 --> 0:33:55.800
<v Speaker 2>almost like overarching puppetmaster of anything that's gone wrong in

0:33:55.840 --> 0:33:57.120
<v Speaker 2>her life.

0:33:58.520 --> 0:34:02.200
<v Speaker 1>The interrogation is interrupt by the arrival of a patrol

0:34:02.320 --> 0:34:05.920
<v Speaker 1>that is bringing back the bodies of the ambushers that

0:34:05.960 --> 0:34:10.200
<v Speaker 1>that Joelt died away with. In Kathleen's mind, as you mentioned, Rosie,

0:34:10.239 --> 0:34:13.080
<v Speaker 1>this is Henry's work. Yeah, if he has a radio,

0:34:13.520 --> 0:34:16.080
<v Speaker 1>he might have called in reinforcements and this is them.

0:34:16.680 --> 0:34:20.840
<v Speaker 1>And then in a rage at this loss of life.

0:34:21.239 --> 0:34:23.439
<v Speaker 2>Yeah, yeah, she's back in. There's a great line where

0:34:23.480 --> 0:34:25.600
<v Speaker 2>she goes, can you save him? And they're like no,

0:34:25.640 --> 0:34:27.920
<v Speaker 2>and she's like, what if I had a doctor And

0:34:27.920 --> 0:34:30.080
<v Speaker 2>they're like it's useless, too late, and.

0:34:30.000 --> 0:34:33.200
<v Speaker 1>She just she goes back in and executes him. This doctor,

0:34:33.239 --> 0:34:35.799
<v Speaker 1>by the way, who at one point in the interrogation says,

0:34:35.840 --> 0:34:38.440
<v Speaker 1>I delivered you. This is like the intimate bonds and

0:34:38.440 --> 0:34:41.440
<v Speaker 1>are being torn apart here are really notable. And she

0:34:41.560 --> 0:34:45.319
<v Speaker 1>says then to her gathered militia, she said, this is

0:34:45.360 --> 0:34:48.399
<v Speaker 1>Henry's work and he won't stop until we stop him.

0:34:48.800 --> 0:34:52.560
<v Speaker 1>Find every collaborator and kill them all. And then Kathleen's

0:34:52.560 --> 0:34:54.480
<v Speaker 1>people head off into the city and they just kind

0:34:54.480 --> 0:34:57.160
<v Speaker 1>of like knock down random doors and drag people off,

0:34:57.520 --> 0:35:00.960
<v Speaker 1>apparently to be killed like with proof. I don't know,

0:35:02.239 --> 0:35:05.360
<v Speaker 1>it doesn't seem like it. Joel and Ellie are watching

0:35:05.480 --> 0:35:08.920
<v Speaker 1>all of this from a hiding spot, and this is

0:35:09.000 --> 0:35:11.440
<v Speaker 1>exactly what Joel meant when he said, people think you

0:35:11.440 --> 0:35:12.280
<v Speaker 1>need to watch everybody.

0:35:12.520 --> 0:35:13.000
<v Speaker 2>This is it.

0:35:13.120 --> 0:35:18.400
<v Speaker 1>We'll watch this. And Ellie, continuing again to pretend like

0:35:18.440 --> 0:35:22.040
<v Speaker 1>she's fine, has noticed a tall building a few blocks over,

0:35:22.640 --> 0:35:25.120
<v Speaker 1>and Joel is like, yeah, I saw it too. This

0:35:25.200 --> 0:35:27.319
<v Speaker 1>is where we're gonna go. We're gonna go there so

0:35:27.360 --> 0:35:30.320
<v Speaker 1>we can get a vantage point and find a path

0:35:30.560 --> 0:35:32.319
<v Speaker 1>out of the city. And this is the moment where

0:35:32.400 --> 0:35:35.919
<v Speaker 1>Joel kind of sensing this shield that Ellie has put

0:35:36.000 --> 0:35:41.440
<v Speaker 1>up around herself, wants to basically take the burden off

0:35:41.440 --> 0:35:44.040
<v Speaker 1>of her shoulders and put it on his because he

0:35:44.120 --> 0:35:46.600
<v Speaker 1>understands that he fucked up. He says, you're just a kid.

0:35:46.440 --> 0:35:48.839
<v Speaker 1>You shouldn't know what it means to you know, it's

0:35:48.880 --> 0:35:53.440
<v Speaker 1>not like you killed them. And Joel continues, you know, saying, basically,

0:35:53.680 --> 0:35:55.279
<v Speaker 1>I know how hard it is the first time you

0:35:55.360 --> 0:35:57.080
<v Speaker 1>kill someone or you hurt them badly. It can be

0:35:57.280 --> 0:35:59.160
<v Speaker 1>it can be bad. And Joel also is doing this

0:35:59.200 --> 0:36:01.880
<v Speaker 1>because you know, he's apologizing. He's saying, this is my fault. Now,

0:36:01.920 --> 0:36:05.880
<v Speaker 1>he says it's his fault because he didn't hear the

0:36:05.960 --> 0:36:08.520
<v Speaker 1>guy sneak up on him. Joel of course has his

0:36:08.640 --> 0:36:11.200
<v Speaker 1>hearing has been damaged from years of shooting at people.

0:36:11.200 --> 0:36:13.759
<v Speaker 2>But it's also hilarious because in the game, Joe has

0:36:13.800 --> 0:36:16.719
<v Speaker 2>like superherring that you can, like you can like hand

0:36:16.800 --> 0:36:19.120
<v Speaker 2>through the wolves like you're in Spider Man or Batman

0:36:19.200 --> 0:36:21.239
<v Speaker 2>or any of those other kind of games. So that's

0:36:21.280 --> 0:36:26.080
<v Speaker 2>like a good a good reconsideration of like grounding him

0:36:26.080 --> 0:36:27.560
<v Speaker 2>in the real world a little bit more.

0:36:27.440 --> 0:36:31.120
<v Speaker 1>A great now, I would point out, And I think

0:36:31.160 --> 0:36:35.240
<v Speaker 1>the character also knows that it's not his fault because

0:36:35.239 --> 0:36:37.560
<v Speaker 1>the guy snuck up on him. It's his fault because

0:36:37.600 --> 0:36:41.200
<v Speaker 1>he decided to drive through and crush the city. Yeah,

0:36:41.280 --> 0:36:44.920
<v Speaker 1>that was gonna obviously be occupied in some form of

0:36:45.000 --> 0:36:47.840
<v Speaker 1>fat like why did you fucking do that? So you know,

0:36:47.880 --> 0:36:50.680
<v Speaker 1>he's apologizing, but in a very dadlike fashion. This is

0:36:50.719 --> 0:36:54.960
<v Speaker 1>this actually like resonates if anybody has ever had a

0:36:55.000 --> 0:36:57.680
<v Speaker 1>parent apologize to them, I don't know about like your

0:36:57.680 --> 0:37:03.279
<v Speaker 1>personal experience, but it's never really They always obliquely do

0:37:03.400 --> 0:37:05.719
<v Speaker 1>it and never truly come clean on the.

0:37:05.600 --> 0:37:08.520
<v Speaker 2>Thing that he felt me that way kind of apology.

0:37:08.880 --> 0:37:12.239
<v Speaker 1>So here's Joel not apologizing but also kind of like

0:37:12.280 --> 0:37:14.279
<v Speaker 1>not apologing for the thing that he actually did. And

0:37:14.280 --> 0:37:17.160
<v Speaker 1>then Ellie says something important, which is that it wasn't

0:37:17.200 --> 0:37:19.799
<v Speaker 1>her first time hurting somebody, but she refuses. Now it's

0:37:19.840 --> 0:37:23.040
<v Speaker 1>her turn to close the doors and not expound on

0:37:23.080 --> 0:37:26.840
<v Speaker 1>what that means. Joel then decides, you know what, we

0:37:26.840 --> 0:37:29.040
<v Speaker 1>didn't stay at Bill and Frank's, where I could have

0:37:29.120 --> 0:37:32.120
<v Speaker 1>taught Ellie how to shoot in safety. But you know what, fuck,

0:37:32.160 --> 0:37:34.399
<v Speaker 1>I'm gonna do it now. He takes he has Ellie

0:37:34.440 --> 0:37:36.560
<v Speaker 1>take her gun out, He shows her how to hold it.

0:37:37.280 --> 0:37:41.520
<v Speaker 1>He uh, and honestly, that's about it. He just shows

0:37:41.520 --> 0:37:45.239
<v Speaker 1>her how to He's just like puts the mag back

0:37:45.280 --> 0:37:47.279
<v Speaker 1>in and he hands it to her. We go back

0:37:47.320 --> 0:37:53.319
<v Speaker 1>to Kathleen where Kathleen's lieutenant who I'm calling thor old

0:37:53.320 --> 0:37:57.000
<v Speaker 1>gray Man from Skyrim. He looks exactly like he really does.

0:37:57.320 --> 0:38:00.920
<v Speaker 1>He looks exactly like the blacksmith of of White Run.

0:38:01.880 --> 0:38:04.680
<v Speaker 1>He has some intel on Henry. Apparently they found the

0:38:05.520 --> 0:38:08.759
<v Speaker 1>recent hiding place of Henry, and he leads Kathleen there.

0:38:08.840 --> 0:38:11.880
<v Speaker 1>It's a attic somewhere in a building somewhere. There's cans

0:38:11.880 --> 0:38:15.800
<v Speaker 1>of food there and notably child's drawings of like Superman

0:38:15.960 --> 0:38:16.640
<v Speaker 1>saving something.

0:38:16.719 --> 0:38:19.680
<v Speaker 2>Yeah, this is like a huge moment because I think

0:38:19.719 --> 0:38:22.279
<v Speaker 2>they do a really interesting job. Kathleen has created for

0:38:22.320 --> 0:38:24.360
<v Speaker 2>the show, and I think they do a really interesting

0:38:24.440 --> 0:38:29.480
<v Speaker 2>job of like she's incredibly brutal and she kills someone

0:38:29.520 --> 0:38:31.960
<v Speaker 2>in a fit of rage, but there's some kind of

0:38:32.040 --> 0:38:35.160
<v Speaker 2>notion here of a revolution of a community that she's protecting.

0:38:35.200 --> 0:38:39.000
<v Speaker 2>It's more so far it's been more more really gray

0:38:39.080 --> 0:38:42.680
<v Speaker 2>than obviously evil. But then when you find out that

0:38:42.760 --> 0:38:45.920
<v Speaker 2>whoever Henry is, and if you know who he is,

0:38:45.920 --> 0:38:47.960
<v Speaker 2>if you've played the game, but if you don't, he's

0:38:48.280 --> 0:38:51.600
<v Speaker 2>helping protect a kid and that's the person that she

0:38:51.719 --> 0:38:56.280
<v Speaker 2>wants to destroy and kill, and it's a very smart

0:38:56.320 --> 0:38:57.680
<v Speaker 2>bit of visual storytelling.

0:38:57.840 --> 0:39:02.279
<v Speaker 1>I agree this resonates too, because you know, oftentimes we

0:39:02.320 --> 0:39:05.200
<v Speaker 1>tell ourselves that we're doing something because of ideals. In

0:39:05.200 --> 0:39:10.320
<v Speaker 1>this case, Kathleen supporting the revolution and you know, bringing

0:39:10.360 --> 0:39:13.799
<v Speaker 1>to justice the collaborators who are trying to bring down

0:39:13.800 --> 0:39:17.120
<v Speaker 1>our more just society after we've overthrown Federa YadA, yah YadA.

0:39:17.160 --> 0:39:20.400
<v Speaker 1>But really it's question of this that they's something personal

0:39:21.640 --> 0:39:25.919
<v Speaker 1>on top of this kind of political you know, scaffolding

0:39:25.960 --> 0:39:29.160
<v Speaker 1>that she's erected. There is something deeply personal about her

0:39:29.280 --> 0:39:32.920
<v Speaker 1>chasing Henry. It is this kid, her child, we don't know,

0:39:33.400 --> 0:39:40.760
<v Speaker 1>but it's clearly personal. They leave there and then Kathleen's

0:39:40.760 --> 0:39:43.000
<v Speaker 1>lieutenant thor Old grey Maine is like, oh, yeah, there's

0:39:43.040 --> 0:39:45.080
<v Speaker 1>something else I have to show you. So they go

0:39:45.280 --> 0:39:48.680
<v Speaker 1>to like a basement or a garage, and there they

0:39:48.719 --> 0:39:52.400
<v Speaker 1>see the concrete floor is cracked and it is it

0:39:52.480 --> 0:39:56.399
<v Speaker 1>is slowly sagging down, and as it SAgs down, it's

0:39:56.400 --> 0:40:00.480
<v Speaker 1>also like bubbling up, like something is pressing again the

0:40:00.520 --> 0:40:04.000
<v Speaker 1>floor beneath there. Is it for those who play the game,

0:40:04.239 --> 0:40:08.239
<v Speaker 1>is this bloaters That's what the hen thing at some

0:40:08.320 --> 0:40:12.200
<v Speaker 1>kind of fungal balloon, like a bubble that will pop

0:40:12.280 --> 0:40:16.239
<v Speaker 1>up fungus. But it feels like we're gonna see bloaters

0:40:16.920 --> 0:40:20.600
<v Speaker 1>or some kind of infected break into the city. Thor

0:40:20.600 --> 0:40:22.560
<v Speaker 1>Old gray Mane is like, should we tell the others?

0:40:22.960 --> 0:40:24.839
<v Speaker 1>When do we tell him? And Kathleen's like not yet,

0:40:25.880 --> 0:40:33.200
<v Speaker 1>badly classic bad leadership. She's like, let's take care of

0:40:33.760 --> 0:40:39.360
<v Speaker 1>this absolutely insane and meaningless paranoia. I have of two

0:40:39.400 --> 0:40:42.000
<v Speaker 1>fucking people. One is like a guy in other words,

0:40:42.000 --> 0:40:46.160
<v Speaker 1>a child, Rather than deal with the obviously pressing issue

0:40:46.200 --> 0:40:48.520
<v Speaker 1>of what appears to be infected.

0:40:48.200 --> 0:40:52.120
<v Speaker 2>And like one of the kind of infected.

0:40:53.640 --> 0:40:56.760
<v Speaker 1>Anyway, Joel and Ellie make their way to the tall building.

0:40:56.840 --> 0:41:01.799
<v Speaker 1>We get some wonderful co op kind of adaptation from

0:41:01.840 --> 0:41:04.440
<v Speaker 1>the gameplay where Joel is scooting Ellie up into a

0:41:04.480 --> 0:41:07.440
<v Speaker 1>hole in the wall the thing you do a boost,

0:41:07.440 --> 0:41:09.479
<v Speaker 1>a thing you do time and time and time again

0:41:09.520 --> 0:41:13.520
<v Speaker 1>in the games. And they head up now this forty

0:41:13.560 --> 0:41:16.800
<v Speaker 1>plus flights of Stais to the top of this building.

0:41:17.440 --> 0:41:20.560
<v Speaker 1>They'll go essentially as far as Joel's fifty six year

0:41:20.560 --> 0:41:24.160
<v Speaker 1>old bones will allow them to go. On the way up,

0:41:24.400 --> 0:41:27.040
<v Speaker 1>Ellie asks Joel, how do you know we're getting ambushed?

0:41:27.160 --> 0:41:30.360
<v Speaker 1>And Joel makes a very important admission here. He says

0:41:30.840 --> 0:41:33.360
<v Speaker 1>that he's been on quote both sides of this, meaning

0:41:34.239 --> 0:41:39.960
<v Speaker 1>he's ambushed people's He says further that he Tommy and

0:41:40.080 --> 0:41:42.279
<v Speaker 1>tests the group that they were running with when they

0:41:42.280 --> 0:41:44.640
<v Speaker 1>were going up to Boston, quote did what they had

0:41:44.719 --> 0:41:48.799
<v Speaker 1>to do to survive, to which Ellie asks, did you

0:41:48.840 --> 0:41:52.320
<v Speaker 1>ever hurt innocent? You ever kill anybody innocent? And Joel

0:41:52.400 --> 0:41:54.240
<v Speaker 1>doesn't answer, which I think clearly means.

0:41:54.160 --> 0:41:57.960
<v Speaker 2>Yes, yeah, And I asked no question. By the way, Joel,

0:41:58.440 --> 0:42:01.719
<v Speaker 2>literally I thought of you here because I think this

0:42:01.760 --> 0:42:04.920
<v Speaker 2>is setting something up really interesting. So you talked about

0:42:04.960 --> 0:42:09.000
<v Speaker 2>how the Bill and Frank relationship is this kind of

0:42:09.080 --> 0:42:11.840
<v Speaker 2>like it's like a mirror for Joel of like, what

0:42:11.960 --> 0:42:14.120
<v Speaker 2>if you let people in and loved them in the

0:42:14.160 --> 0:42:16.719
<v Speaker 2>way they wanted to be loved and respected their agency.

0:42:17.080 --> 0:42:21.440
<v Speaker 2>I think this establishes another reflection of Joel, which is

0:42:21.480 --> 0:42:23.600
<v Speaker 2>probably going to be Kathleen as we get more into

0:42:23.640 --> 0:42:26.480
<v Speaker 2>the story, And that's the what if you never learned

0:42:26.640 --> 0:42:28.600
<v Speaker 2>that you shouldn't do that, or what if you never

0:42:28.640 --> 0:42:32.960
<v Speaker 2>put anything above vengeance or survival? What if you did

0:42:33.000 --> 0:42:35.160
<v Speaker 2>the most brutal version of it? And I think that

0:42:36.120 --> 0:42:38.239
<v Speaker 2>is going to be a very important tipping point for

0:42:38.360 --> 0:42:42.840
<v Speaker 2>Joel to reconsider his any means necessary mindset, which is

0:42:42.840 --> 0:42:46.560
<v Speaker 2>obviously going to lead to like the finale of the show.

0:42:47.360 --> 0:42:53.600
<v Speaker 1>And it's I love post apocalyptic zombie m H stories

0:42:53.960 --> 0:42:57.759
<v Speaker 1>genre stories like this, but there's always been also like

0:42:57.800 --> 0:42:59.799
<v Speaker 1>an aversion I have to them. And the thing is

0:42:59.840 --> 0:43:04.360
<v Speaker 1>that that inherent in this kind of like setup is

0:43:04.440 --> 0:43:06.640
<v Speaker 1>the idea that, hey, you're gonna have to do what

0:43:06.680 --> 0:43:10.600
<v Speaker 1>you have to do. Yeah, And there's something about listen,

0:43:10.640 --> 0:43:14.880
<v Speaker 1>if you're looking for excuses to hurt and kill innocent people,

0:43:15.719 --> 0:43:20.080
<v Speaker 1>you're gonna have an endless supply of them in this story,

0:43:20.120 --> 0:43:22.280
<v Speaker 1>in this kind of world, in this kind of story.

0:43:22.560 --> 0:43:25.640
<v Speaker 1>And here's Joel. Joel, Hey, we had to do what

0:43:25.640 --> 0:43:27.279
<v Speaker 1>we had to do survive. That may have been true

0:43:27.280 --> 0:43:29.200
<v Speaker 1>in the moment, it may not have been true in

0:43:29.200 --> 0:43:29.480
<v Speaker 1>the moment.

0:43:29.520 --> 0:43:31.160
<v Speaker 2>And also you probably didn't have to do it as

0:43:31.160 --> 0:43:33.120
<v Speaker 2>regularly as you did it. That was probably the times

0:43:33.160 --> 0:43:34.960
<v Speaker 2>when you really needed to survive. Then there was the

0:43:35.000 --> 0:43:38.239
<v Speaker 2>times that you wanted a truck, or you wanted something

0:43:38.360 --> 0:43:40.959
<v Speaker 2>other people had, or you killed a family who didn't

0:43:40.960 --> 0:43:43.480
<v Speaker 2>have anything, or you know, we know, Joel's the kind

0:43:43.480 --> 0:43:45.960
<v Speaker 2>of person who would leave a family with a kid

0:43:45.960 --> 0:43:47.680
<v Speaker 2>at the side of the road if it meant protecting

0:43:47.680 --> 0:43:50.000
<v Speaker 2>what was his. So we know we can't assume from

0:43:50.000 --> 0:43:53.440
<v Speaker 2>this interaction that he's done some pretty terrible stuff and.

0:43:53.480 --> 0:43:57.720
<v Speaker 1>At least he feels bad. It's very clear that whatever

0:43:57.760 --> 0:44:01.160
<v Speaker 1>those things were, they weigh on him. He's not particularly

0:44:01.160 --> 0:44:03.799
<v Speaker 1>proud of them, or else he would have said, yeah,

0:44:03.800 --> 0:44:08.320
<v Speaker 1>I did. What do you mean? We had to Joel

0:44:09.080 --> 0:44:11.600
<v Speaker 1>and Ellie make camp on one of the higher floors here.

0:44:11.680 --> 0:44:14.600
<v Speaker 1>Joel then does the uh the Ethan Hunt tricks Mission

0:44:14.640 --> 0:44:17.360
<v Speaker 1>Impossible one where he breaks the he breaks some glass

0:44:17.360 --> 0:44:22.520
<v Speaker 1>and yeah, so that if somebody sneaks up on them,

0:44:22.600 --> 0:44:24.719
<v Speaker 1>they you know, the glass will crunch and they will

0:44:24.760 --> 0:44:26.960
<v Speaker 1>hear something. Why not also barricade the door. Don't worry

0:44:26.960 --> 0:44:30.440
<v Speaker 1>about it. He's like a right Joe slipping. He well,

0:44:30.440 --> 0:44:36.960
<v Speaker 1>here's the thing, he is fifty six. The stands really did.

0:44:37.160 --> 0:44:40.279
<v Speaker 2>Like I also think we're getting to see something really

0:44:40.280 --> 0:44:43.640
<v Speaker 2>interesting here, which is like, this is Joel without tests,

0:44:43.680 --> 0:44:46.839
<v Speaker 2>and I don't think he's really realized that she's not there.

0:44:46.920 --> 0:44:49.040
<v Speaker 1>You know, he knows she's not at that level.

0:44:49.239 --> 0:44:52.160
<v Speaker 2>He he used to have this person who would always

0:44:52.160 --> 0:44:53.839
<v Speaker 2>have his back, who would always be on his six

0:44:53.920 --> 0:44:56.600
<v Speaker 2>like blah blah blah, he's she's there. Test is probably

0:44:56.600 --> 0:44:58.920
<v Speaker 2>setting up some crazy trap. Test is shooting someone if

0:44:58.920 --> 0:45:01.120
<v Speaker 2>you're taking a sleep like. There was a level of

0:45:01.160 --> 0:45:03.360
<v Speaker 2>comfort to the life they had in the quarantine zone,

0:45:03.440 --> 0:45:06.000
<v Speaker 2>and Joel kind of seems to be a little bit

0:45:06.120 --> 0:45:09.080
<v Speaker 2>stuck in that even outside in this totally new city

0:45:09.120 --> 0:45:11.600
<v Speaker 2>and this totally new place. Why didn't you barricade the door?

0:45:11.960 --> 0:45:14.719
<v Speaker 2>Why didn't you You know, there's many things that you

0:45:14.760 --> 0:45:19.279
<v Speaker 2>could ask about what Joel didn't do in this situation,

0:45:19.640 --> 0:45:21.560
<v Speaker 2>But you know what, he's trying his best. I believe that,

0:45:21.600 --> 0:45:22.200
<v Speaker 2>I believe, I.

0:45:22.360 --> 0:45:26.440
<v Speaker 1>Know, I think that all of this I pointed out

0:45:26.520 --> 0:45:28.400
<v Speaker 1>not to criticize Joel, but to say, this is like

0:45:28.480 --> 0:45:31.240
<v Speaker 1>really good character. This isn't older. This is a guy

0:45:31.800 --> 0:45:35.160
<v Speaker 1>who's slipping exact's fifty six years old, and it's not

0:45:35.239 --> 0:45:40.680
<v Speaker 1>like a fifty six in a modern first world kind

0:45:40.760 --> 0:45:43.200
<v Speaker 1>of content. This is a guy who's been living by

0:45:43.280 --> 0:45:47.480
<v Speaker 1>his wits, leaving hand to mouth for twenty fucking, very

0:45:47.640 --> 0:45:49.760
<v Speaker 1>very hard years, horrible years.

0:45:49.600 --> 0:45:52.839
<v Speaker 2>Where he's done terrible things and lost everybody that he loves.

0:45:52.760 --> 0:45:56.799
<v Speaker 1>And he just doesn't necessarily have his fastball right now,

0:45:56.800 --> 0:45:59.320
<v Speaker 1>and I think he knows it. As they're falling asleep,

0:45:59.440 --> 0:46:01.799
<v Speaker 1>Joel asks what Ellie meant by not her first time,

0:46:02.800 --> 0:46:06.960
<v Speaker 1>and Ellie again she willing, not willing to expound on that,

0:46:07.280 --> 0:46:10.680
<v Speaker 1>but Ellie asks, I think an important question, which is

0:46:10.880 --> 0:46:14.840
<v Speaker 1>does it somehow, like you get older, you kill more people,

0:46:14.880 --> 0:46:18.759
<v Speaker 1>does it get easier? And Joel says not really, which

0:46:18.800 --> 0:46:22.160
<v Speaker 1>is not good you want.

0:46:22.040 --> 0:46:24.959
<v Speaker 2>To hear, especially when you're like fourteen, But it's true.

0:46:24.719 --> 0:46:27.200
<v Speaker 1>Right, But it's also a thing I think you want

0:46:27.200 --> 0:46:29.319
<v Speaker 1>to hear from Joel because the last thing you want

0:46:29.320 --> 0:46:31.840
<v Speaker 1>to hear is oh, yeah, I fucking I'm just like

0:46:31.840 --> 0:46:32.520
<v Speaker 1>like in the game.

0:46:33.000 --> 0:46:34.560
<v Speaker 2>Yeah yeah, yeah, that's a great point.

0:46:34.800 --> 0:46:36.400
<v Speaker 1>We're just like running through people.

0:46:37.040 --> 0:46:37.799
<v Speaker 2>But good for Alli.

0:46:38.440 --> 0:46:40.759
<v Speaker 1>Yeah, but and good for Joel because at least you

0:46:40.840 --> 0:46:44.400
<v Speaker 1>know that he's hardest, still beating somewhere in there. And

0:46:44.440 --> 0:46:47.800
<v Speaker 1>then Ellie tells Joel that, hey, I noticed you didn't

0:46:47.840 --> 0:46:50.600
<v Speaker 1>You don't hear so well. Joel says it's because of

0:46:50.640 --> 0:46:52.879
<v Speaker 1>the shooting, all the shooting, Like you wanted a gun,

0:46:53.000 --> 0:46:54.759
<v Speaker 1>now you got one. I'll tell you, maybe you want

0:46:54.760 --> 0:46:57.840
<v Speaker 1>to rely on the knife, which if the if the

0:46:57.840 --> 0:47:00.839
<v Speaker 1>show is anything like the game, Ellie definitely will. And

0:47:00.880 --> 0:47:03.759
<v Speaker 1>then Ellie has a really really important thing to ask

0:47:03.840 --> 0:47:09.320
<v Speaker 1>Joel and she says, Joel, she know diarrhea's hereditary. It runs,

0:47:09.520 --> 0:47:12.040
<v Speaker 1>it runs in your jeans, and we get a really

0:47:12.080 --> 0:47:14.320
<v Speaker 1>great laugh from Joel. Now, the two of them laughing.

0:47:14.360 --> 0:47:16.759
<v Speaker 1>It's a wonderful woman. It made me smile, and they

0:47:16.920 --> 0:47:17.319
<v Speaker 1>and they.

0:47:17.800 --> 0:47:19.640
<v Speaker 2>It starts where he's like, he laughs, and then he

0:47:19.719 --> 0:47:21.920
<v Speaker 2>kind of tries to stop laughing and he's like, that

0:47:22.080 --> 0:47:24.439
<v Speaker 2>is so fucking dumb, and then the two of them

0:47:24.520 --> 0:47:26.480
<v Speaker 2>just lose it and they're like, you're losing it, You're

0:47:26.520 --> 0:47:29.200
<v Speaker 2>losing it, and they're just giggling there. It's the first

0:47:29.200 --> 0:47:32.720
<v Speaker 2>time we've seen Joel happy ever in the show. Actually

0:47:32.920 --> 0:47:38.400
<v Speaker 2>even pre ever ever, yeah, even pre outbreak, but post outbreak.

0:47:38.440 --> 0:47:41.200
<v Speaker 2>It's like his first smile, it's proper smile. It's his

0:47:41.200 --> 0:47:46.360
<v Speaker 2>first laugh. And this is obviously a huge moment for

0:47:46.440 --> 0:47:47.120
<v Speaker 2>the pair of them.

0:47:48.360 --> 0:47:51.719
<v Speaker 1>They go to sleep and Joel is awoken by Ellie's

0:47:52.000 --> 0:47:56.200
<v Speaker 1>panic voicing Joel, and when he wakes up, he finds

0:47:56.480 --> 0:47:59.479
<v Speaker 1>two people standing a man and a child young boy

0:47:59.640 --> 0:48:03.200
<v Speaker 1>standing over them, guns pointed in their faces, and we

0:48:03.280 --> 0:48:05.600
<v Speaker 1>can only assume that this is Henry and Sam. Yes,

0:48:05.800 --> 0:48:08.440
<v Speaker 1>the people who Kathleen has been looking for Don done.

0:48:08.560 --> 0:48:11.440
<v Speaker 2>Dun Dunn, and the credits confine it. This is Henry

0:48:11.440 --> 0:48:13.960
<v Speaker 2>and Sam. And if you are a game player, this

0:48:14.080 --> 0:48:17.200
<v Speaker 2>is when your heart breaks into just after you slightly

0:48:17.480 --> 0:48:20.000
<v Speaker 2>sewed it back together off the episode three.

0:48:21.760 --> 0:48:25.960
<v Speaker 1>A shorter episode forty five minutes. I think necessarily so,

0:48:26.360 --> 0:48:29.279
<v Speaker 1>considering like kind of heft that they gave us in

0:48:29.400 --> 0:48:32.960
<v Speaker 1>episode three, but also an episode that really I think

0:48:33.000 --> 0:48:38.920
<v Speaker 1>deals with I think it's a again just reiterate, I

0:48:38.920 --> 0:48:41.840
<v Speaker 1>think a really smart and necessary thing, which is deal

0:48:41.920 --> 0:48:45.360
<v Speaker 1>with the violence inherent in the game in a way

0:48:45.440 --> 0:48:47.320
<v Speaker 1>that makes it feel.

0:48:47.440 --> 0:48:50.240
<v Speaker 2>Weighty, y, real, Like I think that's really true.

0:48:50.320 --> 0:48:54.120
<v Speaker 1>Taking out that ambusher who is just pathetically begging for

0:48:54.160 --> 0:48:56.840
<v Speaker 1>their life in a way that feels like, wouldn't you

0:48:56.880 --> 0:48:58.879
<v Speaker 1>do this? You would do this right if you thought

0:48:58.920 --> 0:49:00.160
<v Speaker 1>it was all going to be over right now.

0:49:00.360 --> 0:49:03.279
<v Speaker 2>It takes away it just hits hard, and it takes

0:49:03.320 --> 0:49:05.880
<v Speaker 2>away that kind of like the aspect that anything like

0:49:05.920 --> 0:49:09.080
<v Speaker 2>this can have, that like lone Wolf, like you're the

0:49:09.160 --> 0:49:11.279
<v Speaker 2>good guy with the gun, like it takes away that

0:49:11.320 --> 0:49:16.000
<v Speaker 2>element and adds so much more nuance and impact. And

0:49:16.040 --> 0:49:19.680
<v Speaker 2>also I think it's really interesting to have that compared

0:49:19.760 --> 0:49:25.879
<v Speaker 2>with the quickness and severity that Kathleen kills the doctor with.

0:49:27.000 --> 0:49:29.440
<v Speaker 2>She walks and she kills him, it's done. Compared to

0:49:29.960 --> 0:49:33.320
<v Speaker 2>that kind of horrific time that we spend, that shows

0:49:33.400 --> 0:49:36.759
<v Speaker 2>us kind of the sacrifice of taking somebody's life. It's

0:49:37.200 --> 0:49:40.120
<v Speaker 2>and also you get that then compare and you balance

0:49:40.320 --> 0:49:44.960
<v Speaker 2>that with Joel and Ellie bonding over these puns, these

0:49:45.040 --> 0:49:47.480
<v Speaker 2>kind of quiet moments, him telling her about Tommy. I

0:49:47.480 --> 0:49:51.200
<v Speaker 2>think it's like a really impactful episode that I reckon

0:49:51.239 --> 0:49:53.680
<v Speaker 2>as well, is probably gonna this will probably be a

0:49:53.680 --> 0:49:56.399
<v Speaker 2>big rewatch episode I reckon, especially when you're talking about

0:49:56.400 --> 0:49:58.719
<v Speaker 2>the revolution and looking at the seeds of that, because

0:49:58.719 --> 0:50:02.600
<v Speaker 2>at first it seems like Kathleen is just rageful for

0:50:02.680 --> 0:50:04.600
<v Speaker 2>no reason, and then you start to put together the

0:50:04.640 --> 0:50:07.040
<v Speaker 2>seeds and you think, like, oh, okay, there's this some

0:50:07.200 --> 0:50:09.680
<v Speaker 2>kind of revolution that she's a part of. Who was

0:50:10.400 --> 0:50:13.320
<v Speaker 2>helping her, who wasn't helping her? These Federra co conspirac

0:50:13.480 --> 0:50:15.560
<v Speaker 2>Also then you want to know why do people want

0:50:15.560 --> 0:50:18.279
<v Speaker 2>to help Fedra? Like what version of life is that?

0:50:18.320 --> 0:50:20.960
<v Speaker 2>Like you said, are they all under duress and then

0:50:21.280 --> 0:50:25.680
<v Speaker 2>to introduce these like huge fan favorite characters in the

0:50:25.760 --> 0:50:29.879
<v Speaker 2>last moments of the episode. And then after episode three,

0:50:29.920 --> 0:50:32.120
<v Speaker 2>I feel like we're all kind of asking, like, are

0:50:32.120 --> 0:50:36.000
<v Speaker 2>we going to get a Henry and Sam episode that

0:50:36.080 --> 0:50:38.160
<v Speaker 2>is on a level with Bill and Frank, this kind

0:50:38.200 --> 0:50:40.600
<v Speaker 2>of bottle episode that gives us more time with them,

0:50:40.680 --> 0:50:42.279
<v Speaker 2>or is this going to be a journey we see

0:50:42.280 --> 0:50:45.960
<v Speaker 2>them on with Joel and Ellie. I'm I'm very interested

0:50:45.960 --> 0:50:48.040
<v Speaker 2>to see. But I just just another great episode and

0:50:48.040 --> 0:50:51.160
<v Speaker 2>the writing on this show is just like so fucking good.

0:50:51.600 --> 0:50:55.120
<v Speaker 1>It's really well done. Thoughts on what's under the floor.

0:50:56.320 --> 0:50:59.120
<v Speaker 2>I think it's got to be a bloater. I think

0:50:59.160 --> 0:51:01.200
<v Speaker 2>it's got to be a bloat I think, you know,

0:51:01.320 --> 0:51:04.040
<v Speaker 2>we've seen clickers, We've had that really terrifying reveal. I

0:51:04.040 --> 0:51:06.880
<v Speaker 2>think this is very interesting that the show is not

0:51:07.040 --> 0:51:10.560
<v Speaker 2>leaning heavily into the horror right now. Yeah, and it's

0:51:10.640 --> 0:51:16.680
<v Speaker 2>kind of more these moments of teasing and these momentary,

0:51:16.719 --> 0:51:20.200
<v Speaker 2>big reveals like in episode two. But I think I

0:51:20.239 --> 0:51:22.319
<v Speaker 2>think once you get to that episode five, you're over

0:51:22.360 --> 0:51:25.120
<v Speaker 2>halfway through the season. I think that we're going to

0:51:25.160 --> 0:51:27.000
<v Speaker 2>start ramping that up. I think we're going to see

0:51:27.080 --> 0:51:30.279
<v Speaker 2>more infected. I think we're probably going to get a

0:51:30.320 --> 0:51:33.600
<v Speaker 2>couple more brutal deaths, you know, the old like head

0:51:33.640 --> 0:51:37.200
<v Speaker 2>on the broken glass move from the game, the kind

0:51:37.280 --> 0:51:41.360
<v Speaker 2>of the Molotov cocktail situation. I feel like they're building

0:51:41.400 --> 0:51:43.600
<v Speaker 2>in a lot of gameplay in this episode, and I

0:51:43.600 --> 0:51:45.600
<v Speaker 2>feel like they might take that to the next level

0:51:46.120 --> 0:51:49.520
<v Speaker 2>and bring a little bit more violence and horror as

0:51:49.560 --> 0:51:53.200
<v Speaker 2>we get to that final kind of trail to the end.

0:51:54.040 --> 0:52:00.600
<v Speaker 1>Here's my question, do the people in this world? Does

0:52:00.680 --> 0:52:04.799
<v Speaker 1>Joel know about bloaters? Because in the game, bloaters are

0:52:04.800 --> 0:52:07.640
<v Speaker 1>super rare, right, Like, there's very few. There's not like

0:52:08.120 --> 0:52:10.919
<v Speaker 1>it's the rarest of the boss level infected. You don't

0:52:10.920 --> 0:52:13.480
<v Speaker 1>fight them that much. I wonder if this is a

0:52:13.520 --> 0:52:16.560
<v Speaker 1>semi new divice. I think so, if anybody's seen them yet,

0:52:16.640 --> 0:52:17.560
<v Speaker 1>I think, you know what I mean.

0:52:17.440 --> 0:52:20.200
<v Speaker 2>Like, I think there's a wild West somebody who's in

0:52:21.480 --> 0:52:25.160
<v Speaker 2>Kansas City may have. But I think they're going to

0:52:25.239 --> 0:52:27.200
<v Speaker 2>be new to Joel. I think that's going to be

0:52:27.680 --> 0:52:30.680
<v Speaker 2>he's been in the QZ the clickers him and test

0:52:30.760 --> 0:52:32.360
<v Speaker 2>that was the thing they were most scared of, in

0:52:32.400 --> 0:52:35.239
<v Speaker 2>my opinion, from the performances from the way they'd seen it,

0:52:36.160 --> 0:52:41.319
<v Speaker 2>and I, yeah, I think that, I think that you're

0:52:41.680 --> 0:52:43.279
<v Speaker 2>on the path here. Where are we going to get

0:52:43.280 --> 0:52:45.080
<v Speaker 2>like a what the fuck is that? Like? I don't

0:52:45.120 --> 0:52:47.400
<v Speaker 2>know kind of reaction from Joel.

0:52:47.800 --> 0:52:51.000
<v Speaker 1>The show continues to be fucking great. We're going to

0:52:51.040 --> 0:52:53.560
<v Speaker 1>continue our coverage with it every week and look for

0:52:53.640 --> 0:52:56.160
<v Speaker 1>our coverage of the game also to come back shortly

0:52:56.560 --> 0:52:59.600
<v Speaker 1>up next a very entertaining nerd out.

0:53:07.719 --> 0:53:10.200
<v Speaker 2>In today's nerd out, where you tell us what you

0:53:10.239 --> 0:53:13.840
<v Speaker 2>love and why or share a theory, which we're lucky

0:53:13.840 --> 0:53:17.440
<v Speaker 2>to have another great one this week, Joe is going

0:53:17.520 --> 0:53:20.000
<v Speaker 2>to pitch us on how the Mark with the Mouth

0:53:20.239 --> 0:53:24.399
<v Speaker 2>Deadpool a real beloved character at this point in both

0:53:24.400 --> 0:53:26.960
<v Speaker 2>the games and the films thanks to the Fox movies.

0:53:27.680 --> 0:53:29.480
<v Speaker 2>Joe's got an idea of how he might turn up

0:53:29.520 --> 0:53:32.440
<v Speaker 2>in the MCU, So Jason, I'll hand it over to you.

0:53:32.600 --> 0:53:38.560
<v Speaker 1>Sure, Joe writes, after rewatching dead Pool one and two recently.

0:53:38.600 --> 0:53:40.600
<v Speaker 1>The theory that I have is that at the end

0:53:40.680 --> 0:53:44.040
<v Speaker 1>of Deadpool two, when Negasonic fixes the Time Slider, the

0:53:44.120 --> 0:53:47.880
<v Speaker 1>great good old Negasi.

0:53:46.640 --> 0:53:52.160
<v Speaker 2>Teenage, all time favorite inclusions and all time favorite castings

0:53:52.239 --> 0:53:53.360
<v Speaker 2>bring her to the MCU.

0:53:53.480 --> 0:53:58.560
<v Speaker 1>Next Love Negasonic teenage Warhead after Negasnic fixes the timeslider.

0:53:58.680 --> 0:54:01.239
<v Speaker 1>Something in How She Fit is part of what will

0:54:01.280 --> 0:54:04.800
<v Speaker 1>ultimately allow Deadpool a travel into the MCU continuity between

0:54:04.840 --> 0:54:07.400
<v Speaker 1>Deadpool two and The X Men Day's Future Past movie,

0:54:07.480 --> 0:54:09.960
<v Speaker 1>It's made clear in the Fox x Men Universe continuity

0:54:09.960 --> 0:54:12.879
<v Speaker 1>that time travel is strictly linear and changing event will

0:54:12.880 --> 0:54:16.920
<v Speaker 1>directly affect everything else. However, when Wade uses the time

0:54:16.960 --> 0:54:19.239
<v Speaker 1>slider and save so Nessa, the linear effects would have

0:54:19.280 --> 0:54:22.239
<v Speaker 1>avoided much of the story of Deadpool two. Yet in

0:54:22.280 --> 0:54:24.120
<v Speaker 1>the MCU it's been made very clear that changing the

0:54:24.120 --> 0:54:27.800
<v Speaker 1>timeline creates a splinter effect. Since Deadpool seems to be

0:54:27.840 --> 0:54:30.239
<v Speaker 1>able to jump across these splinters, now, I wonder if

0:54:30.280 --> 0:54:32.520
<v Speaker 1>that's how he'll sneak into the MCU. I like this.

0:54:32.719 --> 0:54:35.160
<v Speaker 2>I think that is really smart and also think about it,

0:54:36.000 --> 0:54:42.000
<v Speaker 2>when did we last see a Wolverine aka Logan? He

0:54:42.160 --> 0:54:44.400
<v Speaker 2>was dead, So, you know what, having some kind of

0:54:44.440 --> 0:54:48.880
<v Speaker 2>time travel situation would be very useful to getting Logan

0:54:49.480 --> 0:54:52.400
<v Speaker 2>back into the MCU with a Deadpool as we know

0:54:52.520 --> 0:54:55.759
<v Speaker 2>the movie will be. Obviously there's a variant potential, but

0:54:55.880 --> 0:54:59.880
<v Speaker 2>after hearing Joe's theory, I'm thinking that the time slide.

0:55:00.160 --> 0:55:03.600
<v Speaker 2>Time travel and the differences between time travel and the

0:55:03.600 --> 0:55:06.960
<v Speaker 2>Fox universe and the MCU universe could really be a

0:55:07.000 --> 0:55:08.759
<v Speaker 2>way to get Deadpool in here.

0:55:09.280 --> 0:55:13.799
<v Speaker 1>I agree, it feels like there's something there not to

0:55:13.920 --> 0:55:19.520
<v Speaker 1>mention that, Like, I mean, the pre Marvel X Men

0:55:19.600 --> 0:55:23.799
<v Speaker 1>universe was just filled with time loopholes, oh my god,

0:55:23.960 --> 0:55:26.280
<v Speaker 1>and opportunities.

0:55:25.480 --> 0:55:26.560
<v Speaker 2>Speaking of and.

0:55:28.320 --> 0:55:34.560
<v Speaker 1>Opportunities to pull these characters from almost any time frame

0:55:34.600 --> 0:55:38.879
<v Speaker 1>that their movies like took place in. Uh. I think

0:55:38.880 --> 0:55:41.560
<v Speaker 1>that it feels like Joe's on. I think it would

0:55:41.560 --> 0:55:42.520
<v Speaker 1>not be surprised.

0:55:42.280 --> 0:55:47.840
<v Speaker 2>Because our newest villain, Kang the Conqueror, who we're obviously gonna,

0:55:47.880 --> 0:55:49.680
<v Speaker 2>you know, see an a man, and it seems like

0:55:49.719 --> 0:55:53.680
<v Speaker 2>it will be the Conqueror iteration of Kang, that is

0:55:53.719 --> 0:55:56.239
<v Speaker 2>a man who is obsessed with time. He can control time,

0:55:56.280 --> 0:55:58.560
<v Speaker 2>He's a time traveler. Now we know in the MCU

0:55:59.040 --> 0:56:01.320
<v Speaker 2>it is also going to be this idea of multiverses.

0:56:01.360 --> 0:56:04.880
<v Speaker 2>But in the newest at Man Quantumania trailer, they have

0:56:05.000 --> 0:56:08.600
<v Speaker 2>this line where Kang says, you know, every single thing

0:56:08.680 --> 0:56:12.040
<v Speaker 2>that you see is life. I will burn out of time.

0:56:12.200 --> 0:56:15.120
<v Speaker 2>So I think this idea of time travel and time

0:56:15.200 --> 0:56:17.600
<v Speaker 2>being a malleable thing that's going to become ever more

0:56:17.600 --> 0:56:21.040
<v Speaker 2>important to the MCU. I think Joe's onto something. This

0:56:21.120 --> 0:56:23.319
<v Speaker 2>could be a we were right for the nerd out.

0:56:24.280 --> 0:56:26.680
<v Speaker 1>Thank you Joe. If you have theories or passions you

0:56:26.680 --> 0:56:28.759
<v Speaker 1>want to share, hit us at x ray at cricket

0:56:28.840 --> 0:56:33.640
<v Speaker 1>dot com instructions or in the show notes. That's it

0:56:33.719 --> 0:56:36.080
<v Speaker 1>for us. Rosie an he plugs you.

0:56:36.200 --> 0:56:39.920
<v Speaker 2>Know Itify me Rosie Marx on Instagram and letterboxed and

0:56:40.320 --> 0:56:46.759
<v Speaker 2>this week I'm plugging the newly created Crooked Union. I'm

0:56:46.880 --> 0:56:50.080
<v Speaker 2>very happy about this. Shout out to our comrades, our

0:56:50.520 --> 0:56:55.239
<v Speaker 2>solidarity at the U with our CROKEETG.

0:56:55.760 --> 0:56:57.800
<v Speaker 1>We love the w G, the WJA.

0:56:58.360 --> 0:57:02.400
<v Speaker 2>This is great, really happy that this is happening, and

0:57:02.520 --> 0:57:04.800
<v Speaker 2>just sending all our support to all of our amazing

0:57:05.120 --> 0:57:08.960
<v Speaker 2>folks at Crookeet who announced that union movement.

0:57:12.080 --> 0:57:14.640
<v Speaker 1>Catch the next episode on Friday for routenes and remember

0:57:14.880 --> 0:57:18.880
<v Speaker 1>bring you two episodes a week every Wednesday and Friday

0:57:19.000 --> 0:57:21.200
<v Speaker 1>on the podcast platform of your.

0:57:21.280 --> 0:57:24.840
<v Speaker 2>Choice you can pick and I remember. You can also

0:57:24.920 --> 0:57:28.600
<v Speaker 2>find us on YouTube subscribe you can watch full episodes

0:57:28.640 --> 0:57:30.800
<v Speaker 2>of the show now ones where we're on zoom like

0:57:30.840 --> 0:57:33.919
<v Speaker 2>this being very cool and virtual ones where we're irl

0:57:34.080 --> 0:57:37.280
<v Speaker 2>in the same place at the Crooked Studio. Follow us

0:57:37.320 --> 0:57:41.040
<v Speaker 2>at XRV pod on Twitter where we're always doing cool stuff, sharing,

0:57:41.360 --> 0:57:47.040
<v Speaker 2>answering questions, retweeting rad things, talking about tattoos, and check

0:57:47.040 --> 0:57:50.320
<v Speaker 2>out our discord. Me and Jason are there are super

0:57:50.320 --> 0:57:53.000
<v Speaker 2>producer Soul's been active in there talking about D and D.

0:57:53.560 --> 0:57:55.160
<v Speaker 2>You never know who you're gonna find in there. We've

0:57:55.160 --> 0:57:58.080
<v Speaker 2>got loads of cool friends of the pod, the guy

0:57:58.080 --> 0:58:00.439
<v Speaker 2>at h from joom pods in there, and we got

0:58:00.440 --> 0:58:02.880
<v Speaker 2>a bunch of cool listeners and fans just talking about

0:58:02.920 --> 0:58:05.640
<v Speaker 2>all the stuff that we love. And we even recently

0:58:05.640 --> 0:58:07.840
<v Speaker 2>did a really rad Lost of Us giveaway, so we're

0:58:07.840 --> 0:58:10.160
<v Speaker 2>gonna be trying to do more stuff like that. So basically,

0:58:10.360 --> 0:58:12.440
<v Speaker 2>join the discord. It's great that giveaway.

0:58:13.080 --> 0:58:15.800
<v Speaker 1>The winner of that will be announced on Friday's show

0:58:15.920 --> 0:58:19.160
<v Speaker 1>this week. We'll be announcing that Friday, and we'll be doing,

0:58:19.280 --> 0:58:21.880
<v Speaker 1>as Rosie mentioned, more taper ways like that in the future.

0:58:21.960 --> 0:58:25.400
<v Speaker 1>So join the discord. It's fun. Five star reviews, we

0:58:25.560 --> 0:58:32.640
<v Speaker 1>love them. Here's one from aj from PA love this pod.

0:58:33.000 --> 0:58:35.480
<v Speaker 1>Thank you, Agent, I appreciate it. Jason and Rosie are

0:58:35.480 --> 0:58:37.920
<v Speaker 1>a great team to discuss all things pop culture. Thank you.

0:58:38.240 --> 0:58:40.320
<v Speaker 1>They have great insight. You can tell they truly love

0:58:40.360 --> 0:58:42.880
<v Speaker 1>discussing and breaking down the content they are discussing. I

0:58:42.960 --> 0:58:45.280
<v Speaker 1>especially enjoy how they relate the series they are covering

0:58:45.320 --> 0:58:47.600
<v Speaker 1>to the source material. I only wish they would cover

0:58:47.680 --> 0:58:49.600
<v Speaker 1>more shows because there is so much to enjoy in

0:58:49.640 --> 0:58:51.680
<v Speaker 1>the various fandoms Right now, Hey, you never know.

0:58:51.800 --> 0:58:53.840
<v Speaker 2>Two episodes We've trying.

0:58:54.880 --> 0:58:57.240
<v Speaker 1>We're gonna keep we may we maybe we'll keep going.

0:58:57.320 --> 0:58:59.520
<v Speaker 1>You never know. Thank you so much, AJ for the

0:58:59.600 --> 0:59:02.360
<v Speaker 1>kind words. X Ray Vision is a Crooked Media production.

0:59:02.440 --> 0:59:04.200
<v Speaker 1>The show is produced by Chris Lord and Sol Rubin.

0:59:04.240 --> 0:59:07.000
<v Speaker 1>The show is executive produced by myself and Sandy Rhard

0:59:07.040 --> 0:59:11.160
<v Speaker 1>are editing in sound designs by Vascillis Fatopoulos, Dilon Villanueva

0:59:11.160 --> 0:59:14.120
<v Speaker 1>and Matt Degroup provide video production support. Alex Rella for

0:59:14.280 --> 0:59:17.320
<v Speaker 1>handle social media. Thank you, Brian Vasquez for theme music

0:59:18.800 --> 0:59:19.600
<v Speaker 1>All Friday.

0:59:19.680 --> 0:59:19.800
<v Speaker 2>Hi