Welcome to the Apocalypse – Rolling Stone

First things first: As I mentioned in my review of the first season, I’m not a gamer, never played the last of us, and haven’t even seen a walkthrough video of it. So I’m going to discuss this episode, and everything to come, based solely on how it works as a TV show.

Judged on that basis, the sublime “When You’re Lost in the Dark” comes off pretty well. All of the season’s episodes cover familiar ground in one way or another, but the premiere probably goes over the most familiar of that ground. As I believe Leo Tolstoy once said, all zombie apocalypses are the same, but every post-apocalypse is unsettling in its own way. The episode finally gets to its core, and more importantly, establishes Joel (Pedro Pascal), Ellie (Bella Ramsey) and Tess (Anna Toro) as interesting characters before the trio embark on their dangerous mission. prevent But before that, we have to see the collapse of civilization in the way it resembles in many dystopian shows and movies.

Which is not to say that the material is bad; It’s just more common than what’s coming, especially in recent episodes. And even those sequences are well executed, even if some of them, like Joel, Sarah and Tommy’s desperate attempt to get out of town before the Mushroom People get them, feel a bit too much like a game level where You are not allowed. to play


I’m told that the drive is actually a cutscene in the game, and maybe it feels different coming between different levels; Here, I felt like I had to have the controller in my hand the whole time. But the most fascinating parts of the episode come before and after a night of sleep in late September 2003. His daughter Sarah, played by Nico Parker. In these scenes, Sarah comes across as a typical teenager – sometimes lost in her own head, withdrawn at others and friendly and generous to others, including her father and neighbors. Parker (daughter of

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Editor’s Choice

This, of course, should not be. Instead, creators Craig Mazin and Neil Druckman use these scenes to create an emotional scar for Joel, giving us at least a deep sense of the pain he experiences when Sarah is shot by a terrified soldier on the night that The world is destroyed. The man Joel becomes when the story jumps to 2023 is almost entirely defined by this tragic moment. He’s emotionally closed off and effectively brutal, and when his new charge Ellie is threatened by a soldier late in the episode, he has PTSD flashbacks to Sarah’s death and the way he He goes completely wild with this man.

Joel has no interest in that, though, or anything else it seems. He has a secret passage in and out of the city so he can smuggle drugs and other goods from outside to make his life a little more bearable. And he has a girlfriend in Tess who is badass in her own way. (We’re introduced to her surrounded by armed men after a beating, but it’s clear that she’s in command of the room the entire time, and is likely to find a way out of her predicament even if the time is right. (There may also be a firebomb. She has no way of escape.) He exists instead of living, more traumatized by the loss of his daughter than by the loss of what he knows, another. With fewer goals throughout the day.


Then the target comes in the form of Ellie, a girl about Sarah’s age who needs to cross town. Like Tess, we meet her while she’s someone else’s prisoner—in this case, fire chief Marlene (Merrill Dandridge). Ellie isn’t in command of the situation like Tess was, but we also quickly see that she’s not afraid of being tied to a wall by armed mobs who won’t explain why they want her. And when Marlene releases her into the custody of Joel and Tess, Ellie immediately begins to annoy her new male guardian with her curiosity about his apartment and his life. It’s an instantly interesting entry for Bella Ramsay, and a stark contrast between Ellie’s outgoing persona and Pedro Pascal’s deeply silent Joel.

Eli (Bella Ramsey) and Tess (Anna Toro) in the series premiere of “The Last of Us.” HBO The Boston scenes are notable for their lack of zombies, though we do get a gruesome shot of a dead body absorbed into a wall of fungus when Joel and the others crawl through an underground tunnel late in the hour. And we find out that Marlene needs Ellie to go west to her other firefighters because Ellie is somehow immune to the infection. The focus on people, and on treatment options, is a sign of how much of an immediate threat FEDRA has eliminated, but also a sign of how the last of us – such as

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the walking dead and other examples of the genre—can treat the dead as an unfortunate and dangerous fact of life and other humans as true demons. All in all, a promising start, although I’ll admit I ended up wondering why.

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It was something that many of my gaming friends raved about. But “When You’re Lost in the Dark” effectively sets up the world and our main characters, creating the possibility of all good things. Some other thoughts:* The TV requires an intervention to prevent future series of titles such as this one or those used by him The Lord of the Rings: The Rings of Power which seems to have learned all the wrong lessons

game of thrones

Opening credit. People don’t like this sequence because it’s two minutes of CGI making different shapes; They like it because it’s two minutes of CGI that tells a story of sorts by building on the geography of the series as a whole and the individual episodes, changing in time to introduce new places on the map or prepare us for less. Return to the visited places. Pike While the idea of ​​the seeds growing into something like a city — i.e., a metaphor for how the world as we know it has been consumed by chickens — is clever, it’s still In the end it’s just a bunch of shapes, and not enough to go on. As long as it does. I already wished the screeners had a Skip Intro button by the second episode.

* John Hannah does a bit better in the opening scene in 1968, playing a scientist who warns of climate change-assisted disaster. His monologue could easily play as a ballad exposition dump — a way to contextualize what’s happening while we witness the events from Joel and Sarah’s POV — but Hanna is completely The natural fear of things sells. the trend *Pedro Pascal has many gifts as an actor, many of which are on display in this episode. Regional accent – or at least

this Regional accent – may not be one of them. The good news, depending on your point of view, is that Joe’s Texas accent appears intermittently in this episode and throughout the season, and largely disappears after a while. * In the end, it’s always good to see Friday Night Lightsalum Brad Leyland in the Texas-set story, even if things end much worse for his character here than they did for Buddy Gareth.



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