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Monty Python and the Holy Grail turns 50


Ars staffers reflect upon the things they love most about this masterpiece of absurdist comedy.

king arthur's and his knights staring up at something.

Credit: EMI Films/Python (Monty) Pictures

Credit: EMI Films/Python (Monty) Pictures

Monty Python and the Holy Grail is widely considered to be among the best comedy films of all time, and it’s certainly one of the most quotable. This absurdist masterpiece sending up Arthurian legend turns 50 (!) this year.

It was partly Python member Terry Jones’ passion for the Middle Ages and Arthurian legend that inspired Holy Grail and its approach to comedy. (Jones even went on to direct a 2004 documentary, Medieval Lives.) The troupe members wrote several drafts beginning in 1973, and Jones and Terry Gilliam were co-directors—the first full-length feature for each, so filming was one long learning process. Reviews were mixed when Holy Grail was first released—much like they were for Young Frankenstein (1974), another comedic masterpiece—but audiences begged to differ. It was the top-grossing British film screened in the US in 1975. And its reputation has only grown over the ensuing decades.

The film’s broad cultural influence extends beyond the entertainment industry. Holy Grail has been the subject of multiple scholarly papers examining such topics as its effectiveness at teaching Arthurian literature or geometric thought and logic, the comedic techniques employed, and why the depiction of a killer rabbit is so fitting (killer rabbits frequently appear drawn in the margins of Gothic manuscripts). My personal favorite was a 2018 tongue-in-cheek paper on whether the Black Knight could have survived long enough to make good on his threat to bite King Arthur’s legs off (tl;dr: no).

So it’s not at all surprising that Monty Python and the Holy Grail proved to be equally influential and beloved by Ars staffers, several of whom offer their reminiscences below.

They were nerd-gassing before it was cool

The Monty Python troupe famously made Holy Grail on a shoestring budget—so much so that they couldn’t afford to have the knights ride actual horses. (There are only a couple of scenes featuring a horse, and apparently it’s the same horse.) Rather than throwing up their hands in resignation, that very real constraint fueled the Pythons’ creativity. The actors decided the knights would simply pretend to ride horses while their porters followed behind, banging halves of coconut shells together to mimic the sound of horses’ hooves—a time-honored Foley effect dating back to the early days of radio.

Being masters of absurdist humor, naturally, they had to call attention to it. Arthur and his trusty servant, Patsy (Gilliam), approach the castle of their first potential recruit. When Arthur informs the guards that they have “ridden the length and breadth of the land,” one of the guards isn’t having it. “What, ridden on a horse? You’re using coconuts! You’ve got two empty halves of coconut, and you’re bangin’ ’em together!”

That raises the obvious question: Where did they get the coconuts? What follows is one of the greatest examples of nerd-gassing yet to appear on film. Arthur claims he and Patsy found them, but the guard is incredulous since the coconut is tropical and England is a temperate zone. Arthur counters by invoking the example of migrating swallows. Coconuts do not migrate, but Arthur suggests they could be carried by swallows gripping a coconut by the husk.

The guard still isn’t having it. It’s a question of getting the weight ratios right, you see, to maintain air-speed velocity. Another guard gets involved, suggesting it might be possible with an African swallow, but that species is non-migratory. And so on. The two are still debating the issue as an exasperated Arthur rides off to find another recruit.

The best part? There’s a callback to that scene late in the film when the knights must answer three questions to cross the Bridge of Death or else be chucked into the Gorge of Eternal Peril. When it’s Arthur’s turn, the third question is “What is the air-speed velocity of an unladen swallow?” Arthur asks whether this is an African or a European swallow. This stumps the Bridgekeeper, who gets flung into the gorge. Sir Belvedere asks how Arthur came to know so much about swallows. Arthur replies, “Well, you have to know these things when you’re a king, you know.”

The plucky Black Knight (“It’s just a flesh wound!”) will always hold a special place in my heart, but that debate over air-speed velocities of laden versus unladen swallows encapsulates what makes Holy Grail a timeless masterpiece.

Jennifer Ouellette

A bunny out for blood

“Oh, it’s just a harmless little bunny, isn’t it?”

Despite their appearances, rabbits aren’t always the most innocent-looking animals. Recent reports of rabbit strikes on airplanes are the latest examples of the mayhem these creatures of chaos can inflict on unsuspecting targets.

I learned that lesson a long time ago, though, thanks partly to my way-too-early viewings of the animated Watership Down and Monty Python and the Holy Grail. There I was, about 8 years old and absent of paternal accompaniment, watching previously cuddly creatures bloodying each other and severing the heads of King Arthur’s retinue. While Watership Down’s animal-on-animal violence might have been a bit scarring at that age, I enjoyed the slapstick humor of the Rabbit of Caerbannog scene (many of the jokes my colleagues highlight went over my head upon my initial viewing).

Despite being warned of the creature’s viciousness by Tim the Enchanter, the Knights of the Round Table dismiss the Merlin stand-in’s fear and charge the bloodthirsty creature. But the knights quickly realize they’re no match for the “bad-tempered rodent,” which zips around in the air, goes straight for the throat, and causes the surviving knights to run away in fear. If Arthur and his knights possessed any self-awareness, they might have learned a lesson about making assumptions about appearances.

But hopefully that’s a takeaway for viewers of 1970s British pop culture involving rabbits. Even cute bunnies, as sweet as they may seem initially, can be engines of destruction: “Death awaits you all with nasty, big, pointy teeth.”

Jacob May

Can’t stop the music

The most memorable songs from Monty Python and the Holy Grail were penned by Neil Innes, who frequently collaborated with the troupe and appears in the film. His “Brave Sir Robin” amusingly parodied minstrel tales of valor by imagining all the torturous ways that one knight might die. Then there’s his “Knights of the Round Table,” the first musical number performed by the cast—if you don’t count the monk chants punctuated with slaps on the head with wooden planks. That song hilariously rouses not just wild dancing from knights but also claps from prisoners who otherwise dangle from cuffed wrists.

But while these songs have stuck in my head for decades, Monty Python’s Terry Jones once gave me a reason to focus on the canned music instead, and it weirdly changed the way I’ve watched the movie ever since.

Back in 2001, Jones told Billboard that an early screening for investors almost tanked the film. He claimed that after the first five minutes, the movie got no laughs whatsoever. For Jones, whose directorial debut could have died in that moment, the silence was unthinkable. “It can’t be that unfunny,” he told Billboard. “There must be something wrong.”

Jones soon decided that the soundtrack was the problem, immediately cutting the “wonderfully rich, atmospheric” songs penned by Innes that seemed to be “overpowering the funny bits” in favor of canned music.

Reading this prompted an immediate rewatch because I needed to know what the first bit was that failed to get a laugh from that fateful audience. It turned out to be the scene where King Arthur encounters peasants in a field who deny knowing that there even was a king. As usual, I was incapable of holding back a burst of laughter when one peasant woman grieves, “Well, I didn’t vote for you” while packing random clumps of mud into the field. It made me wonder if any song might have robbed me of that laugh, and that made me pay closer attention to how Jones flipped the script and somehow meticulously used the canned music to extract more laughs.

The canned music was licensed from a British sound library that helped the 1920s movie business evolve past silent films. They’re some of the earliest songs to summon emotion from viewers whose eyes were glued to a screen. In Monty Python and the Holy Grail, which features a naive King Arthur enduring his perilous journey on a wood stick horse, the canned music provides the most predictable soundtrack you could imagine that might score a child’s game of make-believe. It also plays the straight man by earnestly pulsing to convey deep trouble as knights approach the bridge of death or heavenly trumpeting the anticipated appearance of the Holy Grail.

It’s easy to watch the movie without noticing the canned music, as the colorful performances are Jones’ intended focus. Not relying on punchlines, the group couldn’t afford any nuance to be lost. But there is at least one moment where Jones obviously relies on the music to overwhelm the acting to compel a belly laugh. Just before “the most foul, cruel, bad-tempered rodent” appears, a quick surge of dramatic music that cuts out just as suddenly makes it all the more absurd when the threat emerges and appears to be an “ordinary rabbit.”

It’s during this scene, too, that King Arthur delivers a line that sums up how predictably odd but deceptively artful the movie’s use of canned music really is. When he meets Tim the Enchanter—who tries to warn the knights about the rabbit’s “pointy teeth” by evoking loud thunder rolls and waggling his fingers in front of his mouth—Arthur turns to the knights and says, “What an eccentric performance.”

Ashley Belanger

Thank the “keg rock conclave”

I tried to make music a big part of my teenage identity because I didn’t have much else. I was a suburban kid with a B-minus/C-plus average, no real hobbies, sports, or extra-curriculars, plus a deeply held belief that Nine Inch Nails, the Beastie Boys, and Aphex Twin would never get their due as geniuses. Classic Rock, the stuff jocks listened to at parties and practice? That my dad sang along to after having a few? No thanks.

There were cultural heroes, there were musty, overwrought villains, and I knew the score. Or so I thought.

I don’t remember exactly where I found the little fact that scarred my oppositional ego forever. It might have been Spin magazine, a weekend MTV/VH1 feature, or that Rolling Stone book about the ’70s (I bought it for the punks, I swear). But at some point, I learned that a who’s-who of my era’s played-out bands—Led Zeppelin, Pink Floyd, even Jethro (freaking) Tull—personally funded one of my favorite subversive movies. Jimmy Page and Robert Plant, key members of the keg-rock conclave, attended the premiere.

It was such a small thing, but it raised such big, naive, adolescent questions. Somebody had to pay for Holy Grail—it didn’t just arrive as something passed between nerds? People who make things I might not enjoy could financially support things I do enjoy? There was a time when today’s overcelebrated dinosaurs were cool and hip in the subculture? I had common ground with David Gilmour?

Ever since, when a reference to Holy Grail is made, especially to how cheap it looks, I think about how I once learned that my beloved nerds (or theater kids) wouldn’t even have those coconut horses were it not for some decent-hearted jocks.

Kevin Purdy

A masterpiece of absurdism

“I blow my nose at you, English pig-dog!” EMI Films/Python (Monty) Pictures

I was young enough that I’d never previously stayed awake until midnight on New Year’s Eve. My parents were off to a party, my younger brother was in bed, and my older sister had a neglectful attitude toward babysitting me. So I was parked in front of the TV when the local PBS station aired a double feature of The Yellow Submarine and The Holy Grail.

At the time, I probably would have said my mind was blown. In retrospect, I’d prefer to think that my mind was expanded.

For years, those films mostly existed as a source of one-line evocations of sketch comedy nirvana that I’d swap with my friends. (I’m not sure I’ve ever lacked a group of peers where a properly paced “With… a herring!” had meaning.) But over time, I’ve come to appreciate other ways that the films have stuck with me. I can’t say whether they set me on an aesthetic trajectory that has continued for decades or if they were just the first things to tickle some underlying tendencies that were lurking in my not-yet-fully-wired brain.

In either case, my brain has developed into a huge fan of absurdism, whether in sketch comedy, longer narratives like Arrested Development or the lyrics of Courtney Barnett. Or, let’s face it, any stream of consciousness lyrics I’ve been able to hunt down. But Monty Python remains a master of the form, and The Holy Grail’s conclusion in a knight bust remains one of its purest expressions.

A bit less obviously, both films are probably my first exposures to anti-plotting, where linearity and a sense of time were really besides the point. With some rare exceptions—the eating of Sir Robin’s minstrels, Ringo putting a hole in his pocket—the order of the scenes were completely irrelevant. Few of the incidents had much consequence for future scenes. Since I was unused to staying up past midnight at that age, I’d imagine the order of events was fuzzy already by the next day. By the time I was swapping one-line excerpts with friends, it was long gone. And it just didn’t matter.

In retrospect, I think that helped ready my brain for things like Catch-22 and its convoluted, looping, non-Euclidean plotting. The novel felt like a revelation when I first read it, but I’ve since realized it fits a bit more comfortably within a spectrum of works that play tricks with time and find clever connections among seemingly random events.

I’m not sure what possessed someone to place these two films together as appropriate New Year’s Eve programming. But I’d like to think it was more intentional than I had any reason to suspect at the time. And I feel like I owe them a debt.

—John Timmer

A delightful send-up of autocracy

King Arthur attempting to throttle a peasant in the field

“See the violence inherent in the system!” Credit: Python (Monty) Pictures

What an impossible task to pick just a single thing I love about this film! But if I had to choose one scene, it would be when a lost King Arthur comes across an old woman—but oops, it’s actually a man named Dennis—and ends up in a discussion about medieval politics. Arthur explains that he is king because the Lady of the Lake conferred the sword Excalibur on him, signifying that he should rule as king of the Britons by divine right.

To this, Dennis replies, “Strange women lying in ponds distributing swords is no basis for a system of government. Supreme executive power derives from a mandate from the masses, not from some farcical aquatic ceremony.”

Even though it was filmed half a century ago, the scene offers a delightful send-up of autocracy. And not to be too much of a downer here, but all of us living in the United States probably need to be reminded that living in an autocracy would suck for a lot of reasons. So let’s not do that.

Eric Berger

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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In HBO’s The Last of Us, revenge is a dish best served democratically

New episodes of season 2 of The Last of Us are premiering on HBO every Sunday night, and Ars’ Kyle Orland (who’s played the games) and Andrew Cunningham (who hasn’t) will be talking about them here every Monday morning. While these recaps don’t delve into every single plot point of the episode, there are obviously heavy spoilers contained within, so go watch the episode first if you want to go in fresh.

Andrew: And there we are! Our first post-Joel episode of The Last Of Us. It’s not like we’ve never had Joel-light episodes before, but Pedro Pascal’s whole “reluctant uncle” thing is a load-bearing element of several currently airing TV shows and I find myself missing it a LOT.

Kyle: Yeah, I’ve said here in the past how the core Ellie/Joel relationship was key to my enjoyment of the first game. Its absence gently soured me on the second game and is starting to do the same for the second season.

But I was also literally mouth agape during the hospital scene, when Ellie said she had an opportunity to talk to Joel on the porch before he died but passed on it. Anyone who’s played the game knows how central “the porch scene” is to recontextualizing the relationship between these two characters before they are parted forever. I was hoping that we’d still get that scene in a surprise flashback later in the series, but now that seems unlikely at best.

Andrew: (I am not watching that video by the way, I need my brain to stay pure!!)

Kyle: I suppose Ellie could have just been lying to a nosy therapist, but if she wasn’t, and their final conversation has just been retconned out of existence… I don’t know what they were thinking. Then again, if it’s just a head fake to psych out game players, well, bravo, I guess.

Tommy is torn between love for his brother and the welfare of the community he’s helped to build. Credit: HBO

Andrew: Ellie is a known liar, which we know even before Catherine O’Hara, world’s least ethical therapist, declares her to be a lying liar who lies. If the scene is as pivotal as you say, then I’m sure we’ll get it at a time that’s engineered to maximize the gut punch. The re-strung guitar ended up back in her room in the end, didn’t it?

We’re able to skip ahead to Ellie being semi-functional again because of a three-month time jump, showing us a Jackson community that is rebuilding after a period of mourning and cleaning that it didn’t want viewers to spend time on. I am struck by the fact that, despite everything, Jackson gets to be the one “normal” community with baseball and sandwiches and boring town-hall meetings, where every other group of more than 10 people is either a body-mutilation cult or a paramilitary band of psychopaths.

Kyle: We also saw the version of Boston that Ellie grew up in last season, which was kind of halfway between “paramilitary psychopaths” and “normal community.” But I do think the Last of Us fiction in general has a pretty grim view of how humans would react to precarity, which makes Jackson’s uniqueness all the more important as a setting.

We also get our first glimpse into Jackson politics in this episode, which ends up going in quite a different direction to get to the same “Ellie and Dina go out for revenge.” While I appreciate the town hall meeting as a decent narrative explanation of why two young girls are making this revenge trek alone, I feel like the whole sequence was a little too drawn out with sanctimonious philosophizing from all sides.

Even after an apocalypse, city council meetings are a constant. Credit: HBO

Andrew: Yeah the town hall scene was an odd one. Parts of it could have been lifted from Parks & Recreation, particularly the bit where the one guy comes to the “Are We Voting To Pursue Bloody Vengeance” meeting to talk about the finer points of agriculture (he does not have a strong feeling about the bloody vengeance).

Part of it almost felt too much like “our” politics, when Seth (the guy who harassed Ellie and Dina at the dance months ago, but attempted a partially forced apology afterward) stands up and calls everyone snowflakes for even thinking about skipping out on the bloody vengeance (not literally, but that’s the clear subtext). He even invokes a shadowy, non-specific “they” who would be “laughing at us” if the community doesn’t track down and execute Abby. I’ll tell you what, that he is one of two people backing Ellie’s attempted vengeance tour doesn’t make me feel better about what she’s deciding to do here.

Kyle: I will say the line “Nobody votes for angry” rang a bit hollow given our current political moment. Even if their national politics calcified in 2003, I think that doesn’t really work…

Andrew: SO MANY people vote for angry! Or, at least, for emotional. It’s an extremely reliable indicator!

Kyle: Except in Jackson, the last bastion of unemotional, mercy-forward community on either side of the apocalypse!

Andrew: So rather than trying the angry route, Ellie reads a prepared statement where she (again lying, by the way!) claims that her vengeance tour isn’t about vengeance at all and attempts to appeal to the council’s better angels, citing the bonds of community that hold them all together. When this (predictably) fails, Ellie (even more predictably) abandons the community at almost the first possible opportunity, setting out on a single horse with Dina in tow to exact vengeance alone.

Kyle: One thing I did appreciate in this episode is how many times they highlighted that Ellie was ready to just “GO GO GO REVENGE NOW NO WAITING” and even the people that agreed with her were like “Hold up, you at least need to stock up on some better supplies, girl!”

Andrew: Maybe you can sense it leaking through, and it’s not intentional, but I am already finding Ellie’s impulsive snark a bit less endearing without Joel’s taciturn competence there to leaven it.

Kyle: I can, and I can empathize with it. I think Tommy is right, too, in saying that Joel would have moved heaven and earth to save a loved one but not necessarily to get revenge for one that’s already dead. He was pragmatic enough to know when discretion was the better part of valor, and protecting him and his was always the priority. And I’m not sure the town hall “deterrence” arguments would have swayed him.

Look on the bright side, though, at least we get a lost of long, languorous scenes of lush scenery on the ride to Seattle (a scene-setting trait the show borrows well from the movie). I wonder what you made of Dina asking Ellie for a critical assessment of her kissing abilities, especially the extremely doth-protest-too-much “You’re gay, I’m not” bit…

Ellie and Dina conspire. Credit: HBO

Andrew: “You’re gay, I’m not, and those are the only two options! No, I will not be answering any follow-up questions!”

I am not inclined to get too on Dina’s case about that, though. Sexuality is complicated, as is changing or challenging your own perception of yourself. The show doesn’t go into it, but I’ve also got to imagine that in any post-apocalyptic scenario, the vital work of Propagating the Species creates even more societal pressure to participate in heteronormative relationships than already exists in our world.

Ellie, who is only truly happy when she is pissing someone off, is probably more comfortable being “out” in this context than Dina would be.

Kyle: As the episode ends we get a bit of set up for a couple of oncoming threats (or is it just one?): an unseen cult-killing force and a phalanx of heavily armed WLF soldiers that Ellie and Dina seem totally unprepared for. In a video game I’d have no problem believing my super-soldier protagonist character could shoot and kill as many bad guys as the game wants to throw at me. In a more “grounded” TV show, the odds do not seem great.

Andrew: One thread I’m curious to see the show pull at: Ellie attempts to blame “Abby and her crew,” people who left Jackson months ago, for a mass slaying of cult members that had clearly happened just hours ago, an attempt to build Abby up into a monster in her head so it’s easier to kill her when the time comes. We’ll see how well it works!

But yeah, Ellie and Dina and their one horse are not ready for the “Terror Lake Salutes Hannibal Crossing The Alps“-length military parade that the WLF is apparently prepared to throw at them.

Kyle: They’re pretty close to Seattle when they find the dead cultists, so from their perspective I’m not sure blaming Abby and crew for the mass murder is that ridiculous

Andrew: (Girl whose main experience with murder is watching Abby brutally kill her father figure, seeing someone dead on the ground): Getting a lot of Abby vibes from this…

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Revisiting iZombie, 10 years later


We loved the show’s wicked humor, great characters, and mix of cases-of-the-week with longer narrative arcs.

Zombies never really go out of style, but they were an especially hot commodity on television in the 2010s, spawning the blockbuster series The Walking Dead (2010-2022) as well as quirkier fare like Netflix’s comedy horror, The Santa Clarita Diet (2017-2018). iZombie, a supernatural procedural dramedy that ran for five seasons on the CW, falls into the latter category. It never achieved mega-hit status but nonetheless earned a hugely loyal following drawn to the show’s wicked humor, well-drawn characters, and winning mix of cases-of-the-week and longer narrative arcs.

(Spoilers for all five seasons below.)

The original Vertigo comic series was created by writer Chris Roberson and artist Michael Allred. It featured a zombie in Eugene, Oregon, named Gwen Dylan, who worked as a gravedigger because she needed to consume brains every 30 days to keep her memories and cognitive faculties in working order. Her best friends were a ghost who died in the 1960s and a were-terrier named Scott, nicknamed “Spot,” and together they took on challenges both personal and supernatural (vampires, mummies, etc.).

Created by Rob Thomas and Diane Ruggiero-Wright, the TV series borrowed the rough outlines of the premise but otherwise had very little in common with the comics, although Allred drew the nifty opening credits (set to a cover version of “Stop, I’m Already Dead” by Deadboy & The Elephant Men). The location shifted to Seattle.

An over-achieving young medical student, Liv Moore (get it?)—played to perfection by Rose McIver—decides to attend a boat party on a whim one night. It ends in disaster thanks to a sudden zombie outbreak, resulting from a combination of an energy sports drink (Max Rager) and a tainted batch of a new designer drug called Utopium. Liv jumps into the water to flee the zombies but suffers a scratch and wakes up on a beach in a body bag, craving brains.

Liv is forced to break up with her human fiancé, Major (Robert Buckley), to avoid infecting him and becomes estranged from her best friend and roommate, Peyton (Aly Michalka), hiding her new zombie nature from both. And she ends up working in the medical examiner’s office to ensure she has a steady supply of brains. Soon her boss, Ravi (Rahul Kohli), discovers her secret. Rather than being terrified or trying to kill her, Ravi is fascinated by her unusual condition. He tells Liv he was fired by the CDC for his incessant warnings about the threat of such a virus and vows to find a cure.

The brainy bunch

Med student Liv Moore (Rose McIver) wound up a zombie after attending an ill-fated boat party. The CW

The show’s premise stems from an unusual side effect of eating brains: Liv gets some of the dead person’s memories in flashes (visions) as well as certain personality traits—speaking Romanian, painting, agoraphobia, alcoholism, etc. This gives her critical insights that help Det. Clive Babineaux (Malcolm Goodwin) solve various murders, although for several seasons Clive thinks Liv is psychic rather than a zombie. It’s Ravi who first encourages her to get involved when a kleptomaniac Romanian call girl is killed: “You ate the girl’s temporal lobe; the least you can do is help solve her murder.”

Every show needs a good villain and iZombie found it in Liv’s fellow zombie, Blaine (David Anders)—in fact, Blaine is the one who scratched Liv at the boat party and turned her into a zombie. He was there dealing the tainted Utopium. Zombie Blaine switches to dealing brains, which he naturally acquires through murderous means, creating a loyal (i.e., desperate) customer base by infecting wealthy sorts and turning them into zombies. What makes Blaine so compelling as a villain is that he’s as devilishly charming as he is evil, with some unresolved daddy issues for good measure.

Over the course of five seasons, we fell in love with iZombie‘s colorful collection of characters; relished the way the writers leaned into the rather silly premise and (mostly) made it work; and groaned at the occasional bad pun. (Major’s last name is “Lillywhite”; Blaine’s S1 butcher shop is called Meat Cute; when Ravi and Major take in a stray dog, Ravi names the dog “Minor”; and at one point there is a zombie bar called The Scratching Post.) Admittedly, the show started to lose some momentum in later seasons as subplots and shifting relationships became more complicated. And without question the series finale was disappointing: It felt rushed and unsatisfying, with fewer of the quieter character moments that made its strongest episodes so appealing.

Yet there is still so much to love about iZombie, starting with the brain recipes. Brains are disgusting; Blaine and Liv briefly bond over the metallic taste, gross texture, and how much they miss real food. It doesn’t help that zombies can’t really taste much flavor and thus douse their repasts in eye-watering hot sauces. No wonder Liv is constantly trying to find new ways to make the brains more palatable: stir fry, instant Ramen noodles, mixing the brains in with microwaved pizza rolls, deep fried hush puppy brains, sloppy joes, protein shakes—you name it. Blaine, however, takes things to a gourmet level for his rich zombie customers, creating tantalizing dishes like gnocchi stuffed with medulla oblongata swimming in a fra diavolo sauce.

Good guys, bad guys

“Full-on zombie mode” came in handy sometimes. The CW

The writers didn’t neglect Liv’s love life, which she mistakenly thought was over once she became a zombie. Sure, Liv was always going to end up in a happily-ever-after situation with Major. But count me among those who never thought they really worked as soul mates. (Maybe pre-zombie they did.)

The clear fan favorite love interest was S1’s Lowell Tracey (Bradley James), a British musician who found he could no longer perform live after becoming a zombie—since pre-show adrenalin tended to trigger Full On Zombie Mode. He was Liv’s “first” as a zombie, and while they were superficially very different, they bonded over their shared secret and the resulting emotional isolation. And he bonded with Ravi over their shared hatred of a rival soccer team.

James’ smartly soulful performance won fans’ hearts. We were all rooting for those crazy kids. Alas, Liv soon discovered that his brain supply came from Blaine after she accidentally had a bite of Lowell’s breakfast one morning. In a desperate bid to win back her trust, Lowell agreed to help her take out Blaine; it helped that Liv was currently on Sniper Brain. But when the critical moment came, Liv couldn’t take the shot. She watched through the gun sight as Lowell put his hand over his heart and took on Blaine alone—with fatal consequences, because sensitive artist types really aren’t cut out for fights to the death. Howls of protest echoed in living rooms around the world. RIP Lowell, we barely knew ye.

Lowell never got the chance to become a recurring character, but others were more fortunate. Jessica Harmon’s FBI agent, Dale Brazzio, started out as an antagonist investigating the Meat Cute murders—Major and a zombie police captain blew it up to take out Blaine’s criminal enterprise—and ended up as Clive’s romantic partner. Bryce Hodgson’s comedic S1 turn as Major’s roommate in the mental institution, Scott E., was so memorable that the writers brought the actor back to play twin brother Don E., part of Blaine’s drug (and brain) dealing enterprise. Others never graduated to recurring roles but still made the odd guest appearance: Daran Norris as the charmingly louche weatherman Johnny Frost, for instance, and Ryan Beil as nebbishy police sketch artist Jimmy Hahn.

You are what you eat

Liv on frat-boy brain crushed it at beer pong. The CW

And let’s not forget the various Big Bads, most notably S2’s Vaughan du Clark (Steven Weber), amoral playboy CEO of Max Rager, and his conniving temptress daughter, Rita (Leanne Lapp). They provided all manner of delicious devilry before meeting a fitting end: Rita, now a zombie due to Vaughan’s negligence, goes “full Romero” during the S2 finale and eats daddy’s brains in an elevator before being shot in the head.

Perhaps the best thing about iZombie was how much fun the writers had giving Liv so many different kinds of brains to eat—and how much fun McIver had weaving those very different personalities into her performance. There was the rich shopaholic Desperate Housewife; an amorous painter; a sociopathic hitman who was a whiz at pub trivia; a grumpy old man; a schizophrenic; a kids’ basketball coach; a magician; a dominatrix; a medieval history professor fond of LARP-ing; and a ballroom dancer, to name a few.

Liv on agoraphobic hacker brain dominates an online gaming campaign, while she becomes an ace dungeon master on Dungeons & Dragons brain, much to nerdcore Ravi’s delight—although perhaps not as much as he enjoys Liv on vigilante superhero brain. (He found Liv on PhD scientist brain more annoying.) And sometimes the brains are used for throwaway humor: Lowell accidentally eating a gay man’s brain just before his first date with Liv, for instance, or Liv, Blaine, and Don E. hopped up on conspiracy theory brain and bonding over their shared paranoid delusions.

If I were forced to pick my favorite brain, however, I’d probably go back to the S1 episode, “Flight of the Living Dead,” in which Liv’s adventurous former sorority sister, Holly (Tasya Teles), dies in a skydiving “accident” that turns out to be murder. Back in the day, Liv was among those who voted to kick Holly out of the sorority for her constant rule-breaking and reckless behavior. But after eating Holly’s brain in hopes of finding out who killed her, Liv learns more about where Holly was coming from and how to bring something of Holly’s insatiable lust for life into her own existence. “Live each day as if it were your last” can’t help but strike a chord with Liv, who took her former ambitious, over-achieving life for granted before that fateful boat party.

Photo of Jennifer Ouellette

Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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elle-fanning-teams-up-with-a-predator-in-first-predator:-badlands-trailer

Elle Fanning teams up with a predator in first Predator: Badlands trailer

It’s not every day you get a trailer for a new, live-action Predator movie, but today is one of those days. 20th Century Studios just released the first teaser for Predator: Badlands, a feature film that unconventionally makes the classic movie monster a protagonist.

The film follows Dek (Dimitrius Schuster-Koloamatangi), a young member of the predator species and society who has been banished. He’ll work closely with a Weyland-Yutani Android named Thia (Elle Fanning) to take down “the ultimate adversary,” which the trailer dubs a creature that “can’t be killed.” The adversary looks like a very large monster we haven’t seen before, judging from a few shots in the trailer.

Some or all of the film is rumored to take place on the Predator home world, and the movie intends to greatly expand on the mythology around the Predators’ culture, language, and customs. It’s intended as a standalone movie in the Predator/Alien universe.

Predator: Badlands teaser trailer.

The trailer depicts sequences involving multiple predators fighting or threatening one another, Elle Fanning looking very strange and cool as an android, and glimpses of new monsters and the alien world the movie focuses on.

Predator: Badlands‘ director and co-writer is Dan Trachtenberg, who directed another recent, highly acclaimed, standalone Predator movie: Prey. That film put a predator in the usual antagonist role, and had a historical setting, following a young Native American woman who went up against it.

Trachtenberg has also recently been working on an animated anthology series called Predator: Killer of Killers, which is due to premiere on Hulu (which also carried Prey) on June 6.

Predator: Badlands will debut in theaters on November 7. This is just the first teaser trailer, so we’ll learn more in subsequent trailers—though we know quite a bit already, it seems.

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4chan-may-be-dead,-but-its-toxic-legacy-lives-on

4chan may be dead, but its toxic legacy lives on

My earliest memory of 4chan was sitting up late at night, typing its URL into my browser, and scrolling through a thread of LOLcat memes, which were brand-new at the time.

Back then a photoshop of a cat saying “I can has cheezburger” or an image of an owl saying “ORLY?” was, without question, the funniest thing my 14-year-old brain had ever laid eyes on. So much so, I woke my dad up by laughing too hard and had to tell him that I was scrolling through pictures of cats at 2 in the morning. Later, I would become intimately familiar with the site’s much more nefarious tendencies.

It’s strange to look back at 4chan, apparently wiped off the Internet entirely last week by hackers from a rival message board, and think about how many different websites it was over its more than two decades online. What began as a hub for Internet culture and an anonymous way station for the Internet’s anarchic true believers devolved over the years into a fan club for mass shooters, the central node of Gamergate, and the beating heart of far-right fascism around the world—a virus that infected every facet of our lives, from the slang we use to the politicians we vote for. But the site itself had been frozen in amber since the George W. Bush administration.

It is likely that there will never be a site like 4chan again—which is, likely, a very good thing. But it had also essentially already succeeded at its core project: chewing up the world and spitting it back out in its own image. Everything—from X to Facebook to YouTube—now sort of feels like 4chan. Which makes you wonder why it even needed to still exist.

“The novelty of a website devoted to shock and gore, and the rebelliousness inherent in it, dies when your opinions become the official policy of the world’s five or so richest people and the government of the United States,” the Onion CEO and former extremism reporter Ben Collins tells WIRED. “Like any ostensibly nihilist cultural phenomenon, it inherently dies if that phenomenon itself becomes The Man.”

My first experience with the more toxic side of the site came several years after my LOLcat all-nighter, when I was in college. I was a big Tumblr user—all my friends were on there—and for about a year or so, our corner of the platform felt like an extension of the house parties we would throw. That cozy vibe came crashing down for me when I got doxed the summer going into my senior year. Someone made a “hate blog” for me—one of the first times I felt the dark presence of an anonymous stranger’s digital ire, and posted my phone number on 4chan.

They played a prank that was popular on the site at the time, writing in a thread that my phone number was for a GameStop store that had a copy of the ultra-rare video game Battletoads. I received no less than 250 phone calls over the next 48 hours asking if I had a copy of the game.

Many of the 4chan users that called me mid-Battletoad attack left messages. I listened to all of them. A pattern quickly emerged: young men, clearly nervous to even leave a message, trying to harass a stranger for, seemingly, the hell of it. Those voicemails have never left me in the 15 years I’ve spent covering 4chan as a journalist.

I had a front-row seat to the way those timid men morphed into the violent, seething underbelly of the Internet. The throbbing engine of reactionary hatred that resented everything and everyone simply because resentment was the only language its users knew how to speak. I traveled the world in the 2010s, tracing 4chan’s impact on global democracy. I followed it to France, Germany, Japan, and Brazil as 4chan’s users became increasingly convinced that they could take over the planet through racist memes, far-right populism, and cyberbullying. And, in a way, they did. But the ubiquity of 4chan culture ended up being an oddly Pyrrhic victory for the site itself.

Collins, like me, closely followed 4chan’s rise in the 2010s from Internet backwater to unofficial propaganda organ of the Trump administration. As he sees it, once Elon Musk bought Twitter in 2022 there was really no point to 4chan anymore. Why hide behind anonymity if a billionaire lets you post the same kind of extremist content under your real name and even pays you for it?

4chan’s “user base just moved into a bigger ballpark and started immediately impacting American life and policy,” Collins says. “Twitter became 4chan, then the 4chanified Twitter became the United States government. Its usefulness as an ammo dump in the culture war was diminished when they were saying things you would now hear every day on Twitter, then six months later out of the mouths of an administration official.”

But understanding how 4chan went from the home of cat memes to a true Internet bogeyman requires an understanding of how the site actually worked. Its features were often overlooked amid all the conversations about the site’s political influence, but I’d argue they were equally, if not more, important.

4chan was founded by Christopher “Moot” Poole when he was 15. A regular user on slightly less anarchic comedy site Something Awful, Poole created a spinoff site for a message board there called “Anime Death Tentacle Rape Whorehouse.” Poole was a fan of the Japanese message board 2chan, or Futaba Channel, and wanted to give Western anime fans their own version, so he poorly translated the site’s code and promoted his new site, 4chan, to Something Awful’s anime community. Several core features were ported over in the process.

4chan users were anonymous, threads weren’t permanent and would time out or “404” after a period of inactivity, and there were dozens of sub-boards you could post to. That unique combination of ephemerality, anonymity, and organized chaos proved to be a potent mix, immediately creating a race-to-the-bottom gutter culture unlike anything else on the web. The dark end point of the techno-utopianism that built the Internet. On 4chan you were no one, and nothing you did mattered unless it was so shocking, so repulsive, so hateful that someone else noticed and decided to screenshot it before it disappeared into the digital ether.

“The iconic memes that came out of 4chan are because people took the time to save it, you know? And the fact that nobody predicted, nobody could predict or control what was saved or what wasn’t saved, I think, is really, really fascinating,” Cates Holderness, Tumblr’s former head of editorial, tells WIRED.

Still, 4chan was more complicated than it looked from the outside. The site was organized into dozens of smaller sections, everything from comics to cooking to video games to, of course, pornography. Holderness says she learned to make bread during the pandemic thanks to 4chan’s cooking board. (Full disclosure: I introduced Holderness to 4chan way back in 2012.)

“When I switched to sourdough, I got really good pointers,” she says.

Holderness calls 4chan the Internet’s “Wild West” and says its demise this month felt appropriate in a way. The chaos that defined 4chan, both the good and the very, very bad, has largely been paved over by corporate platforms and their algorithms now.

Our feeds deliver us content; we don’t have to hunt for it. We don’t have to sit in front of a computer refreshing a page to find out whether we’re getting a new cat meme or a new manifesto. The humanness of that era of the web, now that 4chan is gone, is likely never coming back. And we’ll eventually find out if that’s a good thing or a bad thing.

“The snippets that we have of what 4chan was—it’s all skewed,” Holderness says. “There is no record. There’s no record that can ever encapsulate what 4chan was.”

This story originally appeared on wired.com.

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universities-(finally)-band-together,-fight-“unprecedented-government-overreach”

Universities (finally) band together, fight “unprecedented government overreach”

We speak with one voice against the unprecedented government overreach and political interference now endangering American higher education… We must reject the coercive use of public research funding…

American institutions of higher learning have in common the essential freedom to determine, on academic grounds, whom to admit and what is taught, how, and by whom… In their pursuit of truth, faculty, students, and staff are free to exchange ideas and opinions across a full range of viewpoints without fear of retribution, censorship, or deportation.

This is fine, as far as it goes. But what are all these institutions going to do about the funding cuts, attempts to revoke their nonprofit status, threats not to hire their graduates, and student speech-based deportations? They are going to ask the Trump administration for “constructive engagement that improves our institutions and serves our republic.”

This sounds lovely, if naive, and I hope it works out well for every one of them as they seek good-faith dialogue with a vice president who has called universities the “enemy” and an administration that demanded Harvard submit to the vetting of every department for unspecified “viewpoint diversity.”

As a first step to finding common ground and speaking with a common voice, the statement is a start. But statements, like all words, can be cheap. We’ll see what steps schools actually take—and how much they can speak and act in concert—as Trump’s pressure campaign continues to ratchet.

Universities (finally) band together, fight “unprecedented government overreach” Read More »

recap:-wheel-of-time’s-third-season-balefires-its-way-to-a-hell-of-a-finish

Recap: Wheel of Time’s third season balefires its way to a hell of a finish

Andrew Cunningham and Lee Hutchinson have spent decades of their lives with Robert Jordan and Brandon Sanderson’s Wheel of Time books, and they previously brought that knowledge to bear as they recapped each first season episode and second season episode of Amazon’s WoT TV series. Now we’re back in the saddle for season 3—along with insights, jokes, and the occasional wild theory.

These recaps won’t cover every element of every episode, but they will contain major spoilers for the show and the book series. We’ll do our best to not spoil major future events from the books, but there’s always the danger that something might slip out. If you want to stay completely unspoiled and haven’t read the books, these recaps aren’t for you.

New episodes of The Wheel of Time season three will be posted for Amazon Prime subscribers every Thursday. This write-up covers the season three finale, “He Who Comes With the Dawn,” which was released on April 17.

Lee: Wow. That was… a lot.

One of the recurring themes of our recaps across seasons has been, “Well, I guess we’re going to have to give up on seeing $SEMI_MAJOR_BOOK_SETTING_OR_EVENT on screen because of budget or time or narrative reasons,” and we’ve had to let go of a lot of stuff. But this episode kicks off with a flashback showing Elaida walking out of a certain twisted redstone doorframe, looking smug and fingering a bracelet. Sharp-eyed viewers might have spotted this doorway in the background of the season premiere, when the Black Ajah loots the Tower’s ter’angreal storeroom, and now in true Chekov’s Gun fashion, the doorway comes ’round again—and not just this one, because like many things in the Wheel of Time, the doorways come in a binary set.

We surely owe show-watchers a very quick recap of the Finn—and I believe we glossed over a scene in an earlier episode where the boys are actually playing the snakes-and-foxes game that these horrifying fae-folk are based on—but before we do that, let’s take a breath and look at what else we’ve got in the episode. Closure! (Well, some.) Balefire! Blocks breaking! Rand pulling a Paul Atreides and making it rain on Dune! I mean, uh, in the Three-Fold Land! And many other things!

Image of an Eelfin

According to the book, this Cat-in-the-Hat-looking mfer’s clothes are made of human flesh. Creepy.

Credit: Prime/Amazon MGM Studios

According to the book, this Cat-in-the-Hat-looking mfer’s clothes are made of human flesh. Creepy. Credit: Prime/Amazon MGM Studios

Andrew: I found this episode less than satisfying after last week’s specifically because of that grab-bag approach. There is some exciting, significant, season finale-style stuff happening here, but it’s also one of those piece-moving episodes with scene after scene of setup, setup, setup without a ton of room for payoff. Setup for a fourth season that, as of this writing, we still don’t know whether we’re getting!

So a number of things just feel rushed, most significantly Rand’s hard turn on Lanfear after a cursory attempt to coax her back to the side of the Light, and the existence of balefire as a concept. I actually love how the show visualizes it—it’s essentially a giant death laser that melts you out of the Pattern so thoroughly that it doesn’t just kill you, it also erases the last few seconds of your existence, represented here as a little shadow of a person that rewinds a bit before dissipating. The books use balefire extensively as a get-out-of-jail-free card for certain major character deaths, so it really feels like something that needs a little more preamble than it gets here.

Lee: Definitely hear you on the Rand and Lanfear stuff—though I think I was so excited by the things I cared about that I wasn’t really paying a lot of attention to the things I didn’t. And Rand & Moiraine & Lanfear are kind of at the bottom of my list of things I’m paying attention to as we slide into the finish—yeah, the Car’a’carn is Car’a’carning and Lanfear is Lanfear’ing.

Image of balefire balefiring someone.

Balefire looks a little Ghostbusters-y, but I definitely wouldn’t want to get hit with any.

Credit: Prime/Amazon MGM Studios

Balefire looks a little Ghostbusters-y, but I definitely wouldn’t want to get hit with any. Credit: Prime/Amazon MGM Studios

Andrew: It’s hard to know where to start with the rest of it! There are some recreations of book events that happen roughly where they’re “supposed” to in the story. There are recreations of book events that have been pulled way forward to save some time. There are things that emphatically don’t happen in the books, also done at least partly in the interests of time. And there’s at least one thing that felt designed specifically to fake out book-readers.

What to dig into first?

Lee: The fake-out! Let’s jump in there. The books make a big deal about Rand needing a teacher for him to get good at channeling, and it can’t be a female Aes Sedai (as the oft-repeated bit about “a bird cannot teach a fish to swim” makes clear). It seemed like it might be poor neglected Logain (remember him?), but now the show makes it clear that the man on the spot is instead going to be Sammael—and then Moghedien comes along and puts all of Sammael’s insides on the outside. Soooooo… I guess Sammael is off the board.

Image of Sammael being extraordinarily dead

Sammael (center) appears to be about as dead as Siuan. So much for that plotline.

Credit: Prime/Amazon MGM Studios

Sammael (center) appears to be about as dead as Siuan. So much for that plotline. Credit: Prime/Amazon MGM Studios

Andrew: Yup! We still have one Forsaken missing, by my count—there are eight in total in the show’s world, and we’ve seen five and had two more referenced by name. So the big open question is whether the eighth is the Forsaken who does end up in the Rand-teacher role in the books. I feel like the show wouldn’t have spent so much time setting up “Rand needs a teacher” without then bothering to follow up on it in some way, but this episode wants to tease people who are asking that question rather than answering it. Fair enough!

Sammael’s early death (pulled forward from book seven) has its own story reverberations. In the books he’s one of a few Forsaken who set themselves up as heads of state, and Rand has to run around individually defeating them and bringing all of these separate kingdoms together in time for the Last Battle (this is less exciting than it sounds, because it takes forever and requires endless patience for navigating the politics of each region).

It seems, increasingly, that we may just be skipping over a bunch of that stuff. That was already implied by the downplaying of Cairhienin politicking that we got on screen in season two, and I tend to see “putting all of Sammael’s blood on the outside” as another possible nod in that direction. As ever with this show, “knowing how it goes in the books” only gives us a limited amount of insight into what the show is going to do.

Lee: I’m liking it. I consider Rand’s world-unifying to be one of the core components of The Slog that we discussed last week, and I think anything that greases the skids on that entire plotline is unequivocally a good thing—that’s also about where I start skipping entire chapters if the word “Elayne” appears in them (trust me on this, show-watchers who might become book-readers: Elayne spends thousands of pages playing the most boring version of the Game of Thrones imaginable, and we suffer through every single interminable import/export discussion with her).

Speaking of Game of Thrones—at least in the sense of killing off characters and potentially shortening The Slog—Siuan’s dead! And probably not in a “can be fixed” kind of way, since we very clearly see her head separated from her body, and Moiraine gasps out confirmation. This one kind of shook me, since Siuan has a big major role to play in a certain big major thing that happens several books hence—but the more I think about it, the more this feels like the same kind of narrative belt-tightening that brought us Loial’s death last episode. Because up until that certain big major thing happens, Siuan spends a lot of her post-Amyrlin time as a scullery maid and underpants-washer. I think we can transplant that certain big major thing onto one of a half-dozen other characters and lose nothing. At least…I think. What about you?

Image of a dead Siuan Sanche

Siuan (center) has passed on. She is no more. She has ceased to be.

Credit: Prime/Amazon MGM Studios

Siuan (center) has passed on. She is no more. She has ceased to be. Credit: Prime/Amazon MGM Studios

Andrew: Yeah, I mean, not nothing, exactly. Every book character we have lost on the show has done stuff that I liked in the books that is now probably not going to happen. Complaining about The Slog aside, people like these books in part because they successfully build a super-dense world inhabited by a million named characters who all have Moments. Post-Amyrlin Siuan’s journey is about humility, finding happiness, and showing that the literal One Power is not the only kind of power there is to wield; it’s not always thrilling, but I won’t say it’s of zero narrative value.

And even when discussing The Slog, part of the reason it was so infuriating is because you and I were reading these as they were coming out. If you wait three years for a book, and then it comes out and nothing happens: that’s maddening! It is also not a problem that exists for modern readers or re-readers, now that the books have been done and dusted for over a decade. My assessment of Knife of Dreams, the series’ 11th book and the last one written entirely by Jordan, went way up on my last re-read because I was able to experience it without also having to experience the bookless years before and after. (It also made me newly sad that Jordan wasn’t able to conclude the story himself, as someone who finds the Sanderson-assisted books a bit clunky and utilitarian.)

All of that being said! I agree that from this point forward in the story, Siuan is not a load-bearing character in the way that Rand or Egwene or the others are. You do also get the sense that the show wants to surprise book-readers with something big every now and again. This particular death achieves that and also cuts down on what the show has left to adapt. I get why they did it! But I also sympathize with people who will miss her.

Image of Elaida as Amyrlin

Now that she’s Amyrlin, Elaida (center) gets to wear the biggest hat of all.

Credit: Prime/Amazon MGM Studios

Now that she’s Amyrlin, Elaida (center) gets to wear the biggest hat of all. Credit: Prime/Amazon MGM Studios

Lee: Let’s pivot, because I can’t wait to discuss Mat’s journey into Finn-land—one of the most important things that happens to his character in the books. I was pretty convinced that we simply weren’t going to get any of this in the show—that the Aelfinn and Eelfinn would be too outside what Amazon is willing to pay for. And yet, there are our two twisted redstone doorways. They’re repositioned somewhat from their book locations, but in a believable fashion. We have no idea what Elaida might have been doing in the doorway in the bowels of the White Tower—presumably she visited the snake-like Aelfinn (and the subtitles confirm this), which leaves Mat visiting the fox-like Eelfin.

The show has been dropping hints about this all season, from flashing us a shot of the first doorway in episode one, to actually showing the “snakes and foxes” tabletop game being played, and finally, here we are—while hunting for the control necklace in the Panarch’s palace in Tanchico, Mat steps through the doorway and… gets three wishes from a horrifying BDSM furry?

Break it down for us, Andrew. What the hell are we looking at?

Andrew: When you enter through these doors, the Finn give you stuff! The Aelfinn give you knowledge, by answering three questions. And the Eelfinn give you Things, both tangible and intangible, by granting three wishes. Exactly what these people are, where they live, why they have this arrangement with anyone who enters through the doorways: even in a series obsessed with overexplaining things, these are “don’t worry about it, that’s just how it is” questions. What you need to know is that the Aelfinns’ answers are often cryptic and open to interpretation, and the Eelfinns’ wish-granting is hyper-literal and comes with, uh, strings attached, as Mat quickly discovers.

Mat getting his things from the Eelfinn is essentially the moment he becomes the Mat he is for the rest of the story, like Perrin’s wolf powers or Egwene’s dream-walking or Rand’s channeling. So it’s pivotal! What did you think of how the show handled it?

Image of Set Sjöstrand as Couladin

Set Sjöstrand as Rand’s Shaido rival Couladin (center), giving off real Great Value Brand Khal Drogo energy here.

Credit: Prime/Amazon MGM Studios

Set Sjöstrand as Rand’s Shaido rival Couladin (center), giving off real Great Value Brand Khal Drogo energy here. Credit: Prime/Amazon MGM Studios

Lee: I thought it was pretty fantastic! We get to see Mat’s foxhead medallion—granted in response to his screaming about how sick he is of being “bollocked about by every bloody magic force on this bloody planet.” But more importantly—possibly the most important thing of all to a certain class of book reader!—is that we also finally get to see the weapon that will define Mat both in combat and out for the entire rest of the series. That’s right, kids, it’s an actual-for-real Ashandarei—and Mat’s hanging from it, just like in the books! Well, sort of. Sort of somewhat similarly to the books!

Mat is being aligned and equipped very well now to head toward his destiny. In fact, after this much of a build-up, the most Wheel of Time-esque thing to happen now would be for him to be completely absent from season four. Ell-oh-ell.

Image of Mat hanging from his knife-wrench-thing.

A bargain made, a price is paid. It’s a little hard to make out, but you can clearly see Mat’s (center) Ashandarei stabbed into the top of the doorframe—just follow the rope.

Credit: Prime/Amazon MGM Studios

A bargain made, a price is paid. It’s a little hard to make out, but you can clearly see Mat’s (center) Ashandarei stabbed into the top of the doorframe—just follow the rope. Credit: Prime/Amazon MGM Studios

Andrew: The Tanchico plotline is also kind of wrapped up here in abrupt fashion. In essence, our heroes fail. Not only do Moghedien and Liandrin manage to escape with all the parts of the collar they need to corral and control the Dragon Reborn, but they also agree to team up so they can beat the other Big Bads and become the biggest bads of all. I cannot see this ending well for either of them, but Kate Fleetwood’s Liandrin is such an unhinged presence on this show that I’m glad she’s sticking around.

Our heroes don’t walk away entirely empty-handed, I suppose. Thom tells Elayne that they actually know each other and tells her that “Lord Gaebril” is actually a Forsaken and a usurper whom she hasn’t actually known her whole life. And Nynaeve gets pitched into the sea, where a near-death experience dissolves the block that is keeping her from channeling freely (the show doesn’t say this overtly, but this is only lightly altered from a similar sequence that happens in book seven or eight, I think).

Image of Nynaeve saving herself from drowning

Nynaeve (center) doing her best Charlton Heston impression.

Credit: Prime/Amazon MGM Studios

Nynaeve (center) doing her best Charlton Heston impression. Credit: Prime/Amazon MGM Studios

Lee: Right, I believe Nynaeve’s block gets busted in book seven—I remember because when I started reading the series, that was the latest available book and the event stuck out. I very much like bringing it forward, too. In the books, keeping the block around makes sense narratively and serves a solid set of purposes; in the show, it was starting to feel less like a legitimate plot device and more like a bad storytelling crutch. It has served its purpose, and it’s time to get rid of it and get on with things.

(Though it is kind of funny to note that Liandrin was the one trying to help Nynaeve break the block in the show a couple of seasons ago. Looks like Liandrin finally found a method that works! The results, though, will not be what she expects.)

Image of Mat's foxhead medallion.

The foxhead medallion—one of the three items that come to define Matrim Cauthon (center).

Credit: Prime/Amazon MGM Studios

The foxhead medallion—one of the three items that come to define Matrim Cauthon (center). Credit: Prime/Amazon MGM Studios

Andrew: The show has set us all up to converge in Tear in season four, essentially going backwards in the story and doing parts of book three; my guess would be that, if it’s still identifiable as an adaptation of any particular Wheel of Time book, we see parts of books five and maybe six mixed in there, too. But all of that is contingent on the show getting another season, and for the first time going into a WoT finale, we aren’t actually sure if that’s happening, right?

Lee: Ugh, yeah, still no word on the next season, which sucks, because this one was so damn good. We wrap in the desert, where Rand has darkened the skies (enough to be seen all over the world!) and brought rain. Everyone looks on portentously. The Stone of Tear and the sword within it (Callandor! It’s the sword in the stone!) beckon. We just need the all-swallowing monster that is Amazon to spare some pocket change to make it happen.

Image of Rand summoning the storm

Rand (center-right) summons the rains.

Credit: Prime/Amazon MGM Studios

Rand (center-right) summons the rains. Credit: Prime/Amazon MGM Studios

Andrew: I’ve been worried about this renewal. Dramas like this just don’t get as many seasons as they would have in eras of TV gone by, and we’re several years past the end of streaming TV’s blank check era (unless you’re Apple TV+, I guess). This season has earned a lot of praise from more people than us—it’s got a higher Rotten Tomatoes score than either of the previous seasons, and higher than the second season of Rings of Power.

But it also doesn’t seem like Wheel of Time has become the breakout crossover smash-hit success that Jeff Bezos had in mind when he demanded his own Game of Thrones all those years ago. It’s expensive, and shows get more expensive the longer they run, as the people in front of and behind the camera negotiate raises and contract renewals.

I would love to see this get a fourth season. The third season had enough great stuff in it that I would be legitimately sad to see it canceled now, which is more attached than I was to the show at the end of its first or second seasons. How ’bout you?

Image of Rhuarc pledging fealty to the Car'a'carn

“And how can this be? For he is the Kwisatz Haderach!” I’m sorry, I’m sorry, no more Dune jokes.

Credit: Prime/Amazon MGM Studios

“And how can this be? For he is the Kwisatz Haderach!” I’m sorry, I’m sorry, no more Dune jokes. Credit: Prime/Amazon MGM Studios

Lee: I’ve said it a bunch, and I’ll say it again: This has been the season where the show found itself. I have every confidence that the next few seasons—if they’re allowed to exist—are going to kick ass.

But this is 2025, the year all dreams die. Perhaps this show, too, is a dream—one from which we are fated to wake sooner, rather than later.

I suppose we’ll know shortly. Until then, dear readers, may you always find water and shade, and may the hand of the Creator shelter you all. And also perhaps knock some sense into Bezos.

Credit: WoT Wiki

Recap: Wheel of Time’s third season balefires its way to a hell of a finish Read More »

resist,-eggheads!-universities-are-not-as-weak-as-they-have-chosen-to-be.

Resist, eggheads! Universities are not as weak as they have chosen to be.

The wholesale American cannibalism of one of its own crucial appendages—the world-famous university system—has begun in earnest. The campaign is predictably Trumpian, built on a flagrantly pretextual basis and executed with the sort of vicious but chaotic idiocy that has always been a hallmark of the authoritarian mind.

At a moment when the administration is systematically waging war on diversity initiatives of every kind, it has simultaneously discovered that it is really concerned about both “viewpoint diversity” and “antisemitism” on college campuses—and it is using the two issues as a club to beat on the US university system until it either dies or conforms to MAGA ideology.

Reaching this conclusion does not require reading any tea leaves or consulting any oracles; one need only listen to people like Vice President JD Vance, who in 2021 gave a speech called “The Universities are the Enemy” to signal that, like every authoritarian revolutionary, he intended to go after the educated.

“If any of us want to do the things that we want to do for our country,” Vance said, “and for the people who live in it, we have to honestly and aggressively attack the universities in this country.” Or, as conservative activist Christopher Rufo put it in a New York Times piece exploring the attack campaign, “We want to set them back a generation or two.”

The goal is capitulation or destruction. And “destruction” is not a hyperbolic term; some Trump aides have, according to the same piece, “spoken privately of toppling a high-profile university to signal their seriousness.”

Consider, in just a few months, how many battles have been launched:

  • The Trump administration is now snatching non-citizen university students, even those in the country legally, off the streets using plainclothes units and attempting to deport them based on their speech or beliefs.
  • It has opened investigations of more than 50 universities.
  • It has threatened grants and contracts at, among others, Brown ($510 million), Columbia ($400 million), Cornell ($1 billion), Harvard ($9 billion), Penn ($175 million), and Princeton ($210 million).
  • It has reached a widely criticized deal with Columbia that would force Columbia to change protest and security policies but would also single out one academic department (Middle Eastern, South Asian, and African Studies) for enhanced scrutiny. This deal didn’t even get Columbia its $400 million back; it only paved the way for future “negotiations” about the money. And the Trump administration is potentially considering a consent decree with Columbia, giving it leverage over the school for years to come.
  • It has demanded that Harvard audit every department for “viewpoint diversity,” hiring faculty who meet the administration’s undefined standards.
  • Trump himself has explicitly threatened to revoke Harvard’s tax-exempt nonprofit status after it refused to bow to his demands. And the IRS looks ready to do it.
  • The government has warned that it could choke off all international students—an important diplomatic asset but also a key source of revenue—at any school it likes.
  • Ed Martin—the extremely Trumpy interim US Attorney for Washington, DC—has already notified Georgetown that his office will not hire any of that school’s graduates if the school “continues to teach and utilize DEI.”

What’s next? Project 2025 lays it out for us, envisioning the federal government getting heavily involved in accreditation—thus giving the government another way to bully schools—and privatizing many student loans. Right-wing wonks have already begun to push for “a never-ending compliance review” of elite schools’ admissions practices, one that would see the Harvard admissions office filled with federal monitors scrutinizing every single admissions decision. Trump has also called for “patriotic education” in K–12 schools; expect similar demands of universities, though probably under the rubrics of “viewpoint discrimination” and “diversity.”

Universities may tell themselves that they would never comply with such demands, but a school without accreditation and without access to federal funds, international students, and student loan dollars could have trouble surviving for long.

Some of the top leaders in academia are ringing the alarm bells. Princeton’s president, Christopher Eisgruber, wrote a piece in The Atlantic warning that the Trump administration has already become “the greatest threat to American universities since the Red Scare of the 1950s. Every American should be concerned.”

Lee Bollinger, who served as president of both the University of Michigan and Columbia University, gave a fiery interview to the Chronicle of Higher Education in which he said, “We’re in the midst of an authoritarian takeover of the US government… We cannot get ourselves to see how this is going to unfold in its most frightening versions. You neutralize the branches of government; you neutralize the media; you neutralize universities, and you’re on your way. We’re beginning to see the effects on universities. It’s very, very frightening.”

But for the most part, even though faculty members have complained and even sued, administrators have stayed quiet. They are generally willing to fight for their cash in court—but not so much in the court of public opinion. The thinking is apparently that there is little to be gained by antagonizing a ruthless but also chaotic administration that just might flip the money spigot back on as quickly as it was shut off. (See also: tariff policy.)

This academic silence also comes after many universities course-corrected following years of administrators weighing in on global and political events outside a school’s basic mission. When that practice finally caused problems for institutions, as it did following the Gaza/Israel fighting, numerous schools adopted a posture of “institutional neutrality” and stopped offering statements except on core university concerns. This may be wise policy, but unfortunately, schools are clinging to it even though the current moment could not be more central to their mission.

To critics, the public silence looks a lot like “appeasement”—a word used by our sister publication The New Yorker to describe how “universities have cut previously unthinkable ‘deals’ with the Administration which threaten academic freedom.” As one critic put it recently, “still there is no sign of organized resistance on the part of universities. There is not even a joint statement in defense of academic freedom or an assertion of universities’ value to society.”

Even Michael Roth, the president of Wesleyan University, has said that universities’ current “infatuation with institutional neutrality is just making cowardice into a policy.”

Appeasing narcissistic strongmen bent on “dominance” is a fool’s errand, as is entering a purely defensive crouch. Weakness in such moments is only an invitation to the strongman to dominate you further. You aren’t going to outlast your opponent when the intended goal appears to be not momentary “wins” but the weakening of all cultural forces that might resist the strongman. (See also: Trump’s brazen attacks on major law firms and the courts.)

As an Atlantic article put it recently, “Since taking office, the Trump administration has been working to dismantle the global order and the nation’s core institutions, including its cultural ones, to strip them of their power. The future of the nation’s universities is very much at stake. This is not a challenge that can be met with purely defensive tactics.”

The temperamental caution of university administrators means that some can be poor public advocates for their universities in an age of anger and distrust, and they may have trouble finding a clear voice to speak with when they come under thundering public attacks from a government they are more used to thinking of as a funding source.

But the moment demands nothing less. This is not a breeze; this is the whirlwind. And it will leave a state-dependent, nationalist university system in its wake unless academia arises, feels its own power, and non-violently resists.

Fighting back

Finally, on April 14, something happened: Harvard decided to resist in far more public fashion. The Trump administration had demanded, as a condition of receiving $9 billion in grants over multiple years, that Harvard reduce the power of student and faculty leaders, vet every academic department for undefined “viewpoint diversity,” run plagiarism checks on all faculty, share hiring information with the administration, shut down any program related to diversity or inclusion, and audit particular departments for antisemitism, including the Divinity School. (Numerous Jewish groups want nothing to do with the campaign, writing in an open letter that “our safety as Jews has always been tied to the rule of law, to the safety of others, to the strength of civil society, and to the protection of rights and liberties for all.”)

If you think this sounds a lot like government control, giving the Trump administration the power to dictate hiring and teaching practices, you’re not alone; Harvard president Alan Garber rejected the demands in a letter, saying, “The university will not surrender its independence or relinquish its constitutional rights. Neither Harvard nor any other private university can allow itself to be taken over by the federal government.”

The Trump administration immediately responded by cutting billions in Harvard funding, threatening the university’s tax-exempt status, and claiming it might block international students from attending Harvard.

Perhaps Harvard’s example will provide cover for other universities to make hard choices. And these are hard choices. But Columbia and Harvard have already shown that the only way you have a chance at getting the money back is to sell whatever soul your institution has left.

Given that, why not fight? If you have to suffer, suffer for your deepest values.

Fare forward

“Resistance” does not mean a refusal to change, a digging in, a doubling down. No matter what part of the political spectrum you inhabit, universities—like most human institutions—are “target-rich environments” for complaints. To see this, one has only to read about recent battles over affirmative action, the Western canon, “legacy” admissions, the rise and fall of “theory” in the humanities, Gaza/Palestine protests, the “Varsity Blues” scandal, critiques of “meritocracy,” mandatory faculty “diversity statements,” the staggering rise in tuition costs over the last few decades, student deplatforming of invited speakers, or the fact that so many students from elite institutions cannot imagine a higher calling than management consulting. Even top university officials acknowledge there are problems.

Famed Swiss theologian Karl Barth lost his professorship and was forced to leave Germany in 1935 because he would not bend the knee to Adolf Hitler. He knew something about standing up for one’s academic and spiritual values—and about the importance of not letting any approach to the world ossify into a reactionary, bureaucratic conservatism that punishes all attempts at change or dissent. The struggle for knowledge, truth, and justice requires forward movement even as the world changes, as ideas and policies are tested, and as cultures develop. Barth’s phrase for this was “Ecclesia semper reformanda est“—the church must always be reformed—and it applies just as well to the universities where he spent much of his career.

As universities today face their own watershed moment of resistance, they must still find ways to remain intellectually curious and open to the world. They must continue to change, always imperfectly but without fear. It is important that their resistance not be partisan. Universities can only benefit from broad-based social support, and the idea that they are fighting “against conservatives” or “for Democrats” will be deeply unhelpful. (Just as it would be if universities capitulated to government oversight of their faculty hires or gave in to “patriotic education.”)

This is difficult when one is under attack, as the natural reaction is to defend what currently exists. But the assault on the universities is about deeper issues than admissions policies or the role of elite institutions in American life. It is about the rule of law, freedom of speech, scientific research, and the very independence of the university—things that should be able to attract broad social and judicial support if schools do not retreat into ideology.

Why it matters

Ars Technica was founded by grad students and began with a “faculty model” drawn from universities: find subject matter experts and turn them loose to find interesting stories in their domains of expertise, with minimal oversight and no constant meetings.

From Minnesota Bible colleges to the halls of Harvard, from philosophy majors to chemistry PhDs, from undergrads to post-docs, Ars has employed people from a wide range of schools and disciplines. We’ve been shaped by the university system, and we cover it regularly as a source of scientific research and computer science breakthroughs. While we differ in many ways, we recognize the value of a strong, independent, mission-focused university system that, despite current flaws, remains one of America’s storied achievements. And we hope that universities can collectively find the strength to defend themselves, just as we in the media must learn to do.

The assault on universities and on the knowledge they produce has been disorienting in its swiftness, animus, and savagery. But universities are not starfish, flopping about helplessly on a beach while a cruel child slices off their arms one by one. They can do far more than hope to survive another day, regrowing missing limbs in some remote future. They have real power, here and now. But they need to move quickly, they need to move in solidarity, and they need to use the resources that they have, collectively, assembled.

Because, if they aren’t going to use those resources when their very mission comes under assault, what was the point of gathering them in the first place?

Here are a few of those resources.

Money

Cash is not always the most important force in human affairs, but it doesn’t hurt to have a pile of it when facing off against a feral US government. When the government threatened Harvard with multiyear cuts of $9 billion, for instance, it was certainly easier for the university to resist while sitting on a staggering $53 billion endowment. In 2024, the National Association of College and University Business Officers reported that higher ed institutions in the US collectively have over $800 billion in endowment money.

It’s true that many endowment funds are donor-restricted and often invested in non-liquid assets, making them unavailable for immediate use or to bail out university programs whose funding has been cut. But it’s also true that $800 billion is a lot of money—it’s more than the individual GDP of all but two dozen countries.

No trustee of this sort of legacy wants to squander an institution’s future by spending money recklessly, but what point is there in having a massive endowment if it requires your school to become some sort of state-approved adjunct?

Besides, one might choose not to spend that money now only to find that it is soon requisitioned regardless. People in Trump’s orbit have talked for years about placing big new taxes on endowment revenue as a way of bringing universities to heel. Trump himself recently wrote on social media that Harvard “perhaps” should “lose its Tax Exempt Status and be Taxed as a Political Entity if it keeps pushing political, ideological, and terrorist inspired/supporting “Sickness?” Remember, Tax Exempt Status is totally contingent on acting in the PUBLIC INTEREST!”

So spend wisely, but do spend. This is the kind of moment such resources were accumulated to weather.

Students

Fifteen million students are currently enrolled in higher education across the country. The total US population is 341 million people. That means students comprise over 4 percent of the total population; when you add in faculty and staff, higher education’s total share of the population is even greater.

So what? Political science research over the last three decades looked at nonviolent protest movements and found that they need only 3.5 percent of the population to actively participate. Most movements that hit that threshold succeed, even in authoritarian states. Higher ed alone has those kinds of numbers.

Students are not a monolith, of course, and many would not participate—nor should universities look at their students merely as potential protesters who might serve university interests. But students have been well-known for a willingness to protest, and one of the odd features of the current moment has been that so many students protested the Gaza/Israel conflict even though so few have protested the current government assault on the very schools where they have chosen to spend their time and money. It is hard to say whether both schools and their students are burned out from recent, bruising protests, or whether the will to resist remains.

But if it does, the government assault on higher education could provoke an interesting realignment of forces: students, faculty, and administrators working together for once in resistance and protest, upending the normal dynamics of campus movements. And the numbers exist to make a real national difference if higher ed can rally its own full range of resources.

Institutions

Depending on how you count, the US has around 4,000 colleges and universities. The sheer number and diversity of these institutions is a strength—but only if they can do a better job working together on communications, lobbying, and legal defenses.

Schools are being attacked individually, through targeted threats rather than broad laws targeting all higher education. And because schools are in many ways competitors rather than collaborators, it can be difficult to think in terms of sharing resources or speaking with one voice. But joint action will be essential, given that many smaller schools are already under economic pressure and will have a hard time resisting government demands, losing their nonprofit status, or finding their students blocked from the country or cut off from loan money.

Plenty of trade associations and professional societies exist within the world of higher education, of course, but they are often dedicated to specific tasks and lack the public standing and authority to make powerful public statements.

Faculty/alumni

The old stereotype of the out-of-touch, tweed-wearing egghead, spending their life lecturing on the lesser plays of Ben Jonson, is itself out of touch. The modern university is stuffed with lawyers, data scientists, computer scientists, cryptographers, marketing researchers, writers, media professionals, and tech policy mavens. They are a serious asset, though universities sometimes leave faculty members to operate so autonomously that group action is difficult or, at least, institutionally unusual. At a time of crisis, that may need to change.

Faculty are an incredible resource because of what they know, of course. Historians and political scientists can offer context and theory for understanding populist movements and authoritarian regimes. Those specializing in dialogue across difference, or in truth and reconciliation movements, or in peace and conflict studies, can offer larger visions for how even deep social conflicts might be transcended. Communications professors can help universities think more carefully about articulating what they do in the public marketplace of ideas. And when you are on the receiving end of vindictive and pretextual legal activity, it doesn’t hurt to have a law school stuffed with top legal minds.

But faculty power extends beyond facts. Relationships with students, across many years, are a hallmark of the best faculty members. When generations of those students have spread out into government, law, and business, they make a formidable network.

Universities that realize the need to fight back already know this. Ed Martin, the interim US Attorney for the District of Columbia, attacked Georgetown in February and asked if it had “eliminated all DEI from your school and its curriculum?” He ended his “clarification” letter by claiming that “no applicant for our fellows program, our summer internship, or employment in our office who is a student or affiliated with a law school or university that continues to teach and utilize DEI will be considered.”

When Georgetown Dean Bill Treanor replied to Martin, he did not back down, noting Martin’s threat to “deny our students and graduates government employment opportunities until you, as Interim United States Attorney for the District of Columbia, approve of our curriculum.” (Martin himself had managed to omit the “interim” part of his title.) Such a threat would violate “the First Amendment’s protection of a university’s freedom to determine its own curriculum and how to deliver it.”

There was no “negotiating” here, no attempt to placate a bully. Treanor barely addressed Martin’s questions. Instead, he politely but firmly noted that the inquiry itself was illegitimate, even under recent Supreme Court jurisprudent and Trump Department of Education policy. And he tied everything in his response to the university’s mission as a Jesuit school committed to “intellectual, ethical, and spiritual understanding.”

The letter’s final paragraph, in which Treanor told Martin that he expected him to back down from his threats, opened with a discussion of Georgetown’s faculty.

Georgetown Law has one of the preeminent faculties in the country, fostering groundbreaking scholarship, educating students in a wide variety of perspectives, and thriving on the robust exchange of ideas. Georgetown Law faculty have educated world leaders, members of Congress, and Justice Department officials, from diverse backgrounds and perspectives.

Implicit in these remarks are two reminders:

  1. Georgetown is home to many top legal minds who aren’t about to be steamrolled by a January 6 defender whose actions in DC have already been so comically outrageous that Sen. Adam Schiff has placed a hold on his nomination to get the job permanently.
  2. Georgetown faculty have good relationships with many powerful people across the globe who are unlikely to sympathize with some legal hack trying to bully their alma mater.

The letter serves as a good reminder: Resist with firmness and rely on your faculty. Incentivize their work, providing the time and resources to write more popular-level distillations of their research or to educate alumni groups about the threats campuses are facing. Get them into the media and onto lecture hall stages. Tap their expertise for internal working groups. Don’t give in to the caricatures but present a better vision of how faculty contribute to students, to research, and to society.

Real estate

Universities collectively possess a real estate portfolio of land and buildings—including lecture halls, stages, dining facilities, stadiums, and dormitories—that would make even a developer like Donald Trump salivate. It’s an incredible resource that is already well-used but might be put toward purposes that meet the moment even more clearly.

Host more talks, not just on narrow specialty topics, but on the kinds of broad-based political debates that a healthy society needs. Make the universities essential places for debate, discussion, and civic organizing. Encourage more campus conferences in the summer, with vastly reduced rates for groups that effectively aid civic engagement, depolarization, and dialogue across political differences. Provide the physical infrastructure for fruitful cross-party political encounters and anti-authoritarian organizing. Use campuses to house regional and national hubs that develop best practices in messaging, legal tactics, local outreach, and community service from students, faculty, and administrators.

Universities do these things, of course; many are filled with “dialogue centers” and civic engagement offices. But many of these resources exist primarily for students; to survive and thrive, universities will need to rebuild broader social confidence. The other main criticism is that they can be siloed off from the other doings of the university. If “dialogue” is taken care of at the “dialogue center,” then other departments and administrative units may not need to worry about it. But with something as broad and important as “resistance,” the work cannot be confined to particular units.

With so many different resources, from university presses to libraries to lecture halls, academia can do a better job at making its campuses useful both to students and to the surrounding community—so long as the universities know their own missions and make sure their actions align with them.

Athletics

During times of external stress, universities need to operate more than ever out of their core, mission-driven values. While educating the whole person, mentally and physically, is a worthy goal, it is not one that requires universities to submit to a Two Minutes Hate while simultaneously providing mass entertainment and betting material for the gambling-industrial complex.

When up against a state that seeks “leverage” of every kind over the university sector, realize that academia itself controls some of the most popular sports competitions in America. That, too, is leverage, if one knows how to use it.

Such leverage could, of course, be Trumpian in its own bluntness—no March Madness tournament, for instance, so long as thousands of researchers are losing their jobs and health care networks are decimated and the government is insisting on ideological control over hiring and department makeup. (That would certainly be interesting—though quite possibly counterproductive.)

But universities might use their control of NCAA sporting events to better market themselves and their impact—and to highlight what’s really happening to them. Instead, we continue to get the worst kinds of anodyne spots during football and basketball games: frisbee on the quad, inspiring shots of domes and flags, a professor lecturing in front of a chalkboard.

Be creative! But do something. Saying and doing nothing—letting the games go on without comment as the boot heel comes down on the whole sector, is a complete abdication of mission and responsibility.

DOD and cyber research

The Trump administration seems to believe that it has the only thing people want: grant funding. It seems not even to care if broader science funding in the US simply evaporates, if labs close down, or if the US loses its world-beating research edge.

But even if “science” is currently expendable, the US government itself relies heavily on university researchers to produce innovations required by the Department of Defense and the intelligence community. Cryptography, cybersecurity tools, the AI that could power battlefield drone swarms—much of it is produced by universities under contract with the feds. And there’s no simple, short-term way for the government to replace this system.

Even other countries believe that US universities do valuable cyber work for the federal government; China just accused the University of California and Virginia Tech of aiding in an alleged cyberattack by the NSA, for instance.

That gives the larger universities—the ones that often have these contracts—additional leverage. They should find a way to use it.

Medical facilities

Many of the larger universities run sprawling and sophisticated health networks that serve whole communities and regions; indeed, much of the $9 billion in federal money at issue in the Harvard case was going to Harvard’s medical system of labs and hospitals.

If it seems unthinkable to you that the US government would treat the health of its own people as collateral damage in a war to become the Thought Police, remember that this is the same administration that has already tried to stop funds to the state of Maine—funds used to “feed children and disabled adults in schools and care settings across the state”—just because Maine allowed a couple of transgender kids to play on sports teams. What does the one have to do with the other? Nothing—except that the money provides leverage.

But health systems are not simply weapons for the Trump administration to use by refusing or delaying contracts, grants, and reimbursements. Health systems can improve people’s lives in the most tangible of ways. And that means they ought to be shining examples of community support and backing, providing a perfect opportunity to highlight the many good things that universities do for society.

Now, to the extent that these health care systems in the US have suffered from the general flaws of all US health care—lack of universal coverage leading to medical debt and the overuse of emergency rooms by the indigent, huge salaries commanded by doctors, etc.—the Trump war on these systems and on the universities behind them might provide a useful wake-up call from “business as usual.” Universities might use this time to double down on mission-driven values, using these incredible facilities even more to extend care, to lower barriers, and to promote truly public and community health. What better chance to show one’s city, region, and state the value of a university than massively boosting free and easy access to mental and physical health resources? Science research can be esoteric; saving someone’s body or mind is not.

Conclusion

This moment calls out for moral clarity and resolve. It asks universities to take their mission in society seriously and to resist being co-opted by government forces.

But it asks something of all of us, too. University leaders will make their choices, but to stand strong, they need the assistance of students, faculty, and alumni. In an age of polarization, parts of society have grown skeptical about the value of higher education. Some of these people are your friends, family, and neighbors. Universities must continue to make changes as they seek to build knowledge and justice and community, but those of us no longer within their halls and quads also have a part to play in sharing a more nuanced story about the value of the university system, both to our own lives and to the country.

If we don’t, our own degrees may be from institutions that have become almost unrecognizable.

Resist, eggheads! Universities are not as weak as they have chosen to be. Read More »

sony-releases-new-trailer-for-28-years-later

Sony releases new trailer for 28 Years Later

Danny Boyle directs the third film in the post-apocalyptic franchise, 28 Years Later.

The critically acclaimed 2002 film 28 Days Later is often credited with sparking the 21st-century revival of the zombie genre. Director Danny Boyle is back with more zombie-virus dystopian horror in his new film set in the same fictional world, 28 Years Later—not so much a direct sequel but the start of a new planned trilogy.

(Some spoilers for 28 Days Later and 28 Weeks Later below.)

In 28 Days Later, a highly contagious “Rage Virus” is accidentally released from a lab in Cambridge, England. Those infected turn into violent, mindless monsters who brutally attack the uninfected—so-called “fast zombies.” Transmitted by bites, scratches, or even just by getting a drop of infected blood in one’s mouth, the virus spreads rapidly, effectively collapsing society. A bicycle courier named Jim (Cillian Murphy) awakens from a coma 28 days later to find London mostly deserted, apart from a handful of survivors fleeing the infected hordes, and joins them in the pursuit of safety. Jim (barely) survives, and we see zombies dying of starvation in the streets during the denouement.

The sequel, 28 Weeks Later, featured a new cast of characters living on the outskirts of London. With the help of NATO soldiers, Britain has begun rebuilding, taking in refugees and moving them to safe-zone districts. But all it takes is one careless person getting infected and raging out for the virus to spread uncontrollably yet again. So naturally, that’s what happens. The survivors eventually flee to France, only for the rage virus to spread there, too.

As early as 2007, Boyle had plans for a third film, set 28 months after the original outbreak, but it ended up in development hell. When the film finally got the green light in January 2024, the title had changed to 28 Years Later, given how much time had passed. Alex Garland returns as screenwriter and also wrote the two sequels for this new trilogy.

How much time do we have left?

Per the official synopsis:

It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.

Jodie Comer plays Isla, who lives with her husband, Jamie, (Aaron Taylor-Johnson) and 12-year-old son, Spike (Alfie Williams), on the aforementioned island. Isla is pregnant, and Jamie scrounges out a living as a scavenger. The cast also includes Ralph Fiennes as Dr. Kelson, one of the survivors of the original outbreak; Jack O’Connell as cult leader Sir Jimmy Crystal; Edvin Ryding as Swedish NATO soldier Erik Sundqvist; Erin Kellyman as Jimmy Ink; and Emma Laird in an as-yet-undisclosed role.

Sony releases new trailer for 28 Years Later Read More »

hbo’s-the-last-of-us-is-back-for-season-2,-and-so-are-we

HBO’s The Last of Us is back for season 2, and so are we

New episodes of season 2 of The Last of Us are premiering on HBO every Sunday night, and Ars’ Kyle Orland (who’s played the games) and Andrew Cunningham (who hasn’t) will be talking about them here every Monday morning. While these recaps don’t delve into every single plot point of the episode, there are obviously heavy spoilers contained within, so go watch the episode first if you want to go in fresh.

Kyle: To start us off as we return to the world of The Last of Us, as a non-game player, maybe recap what you remember from the first season and what you’ve heard about the second.

Andrew: Going into the first season, I’d been aware of The Last of Us, the video game, as a story about an older guy and a kid trying to navigate a post-apocalyptic world. And the show was also mostly that: It’s Joel and Ellie against the world, and who knows, maybe this spunky young girl with an apparent immunity to the society-ravaging fungal infection could hold the key to a cure!

Things fell apart at the end of last season when the Fireflies (a group of survivalists/doctors/scientists/etc.) may or may not have been threatening to kill Ellie in order to research their cure, which made Joel go on a murder rampage, which he then lied to Ellie about. We fade to black as they make their way back toward the one semi-functioning human settlement they’d visited on their travels, where Joel’s brother and his family also happen to live.

Going into this season: I know nothing. I don’t really engage in TV show fandoms or keep up with casting announcements or plot speculation. And the only thing I know about the second game going into this is a vague sense that it wasn’t as well-received as the first. In short, I am as a newborn baby, ready to take in the second season of a show I kind of like with the freshest possible eyes.

Kyle: I may be to blame for that vague sense you have. I fell in love with the first game, especially the relationship between Joel and Ellie, and I thought the first season of the show captured that quite well. I thought the endings to both the game and season 1 of the show were just about perfect and that any continuation after that was gonna struggle to justify itself.

Without giving too much away, I think the second game misses a lot of what made the narrative of the first one special and gets sidetracked in a lot of frankly gratuitous directions. That said, this premiere episode of the second season drew me in more than I expected.

One jarring thing (in a good way) about both the second game and the second season is suddenly seeing Joel and Ellie just existing in a thriving community with electric lights, music, alcohol, decent food, laughter, etc., etc. After the near-constant precarity and danger they’ve faced in the recent past, it really throws you for a loop.

Andrew: Unfortunately but predictably, you see both of them struggling to adapt in different ways; these are two extremely individualistic, out-for-number-one people. Ellie (now a 19-year-old, after a five-year time jump) never met a rule she couldn’t break, even when it endangers her friends and other community members.

And while Joel will happily fix your circuit breaker or re-string your guitar, he emphatically rejected a needs-of-the-many-outweigh-the-needs-of-the-few approach at the end of last season. When stuff breaks bad (and I feel confident that it will, that’s the show that it is) these may not be the best people to have in your corner.

My only real Game Question for you at the outset is the big one: Is season 2 adapting The Last of Us Part II or is it doing its own thing or are we somewhere in between or is it too early to say?

“Oh, dang, is that Catherine O’Hara?”

“Oh, dang, is that Catherine O’Hara?”

Kyle: From what I have heard it will be adapting the first section of the second game (it’s a long game) and making some changes and digressions that expand on the game’s story (like the well-received Nick Offerman episode last season). Already, I can tell you that Joel’s therapy scene was created for the TV show, and I think it improves on a somewhat similar “Joel pours his heart out” scene from early in the game.

The debut episode is also already showing a willingness to move around scenes from the game to make them fit better in chronological order, which I’m already appreciating.

One thing I think the show is already doing well, too, is showing 19-year-old Ellie “acting like every 19-year-old ever” (as one character puts it) to father figure Joel. Even in a zombie apocalypse, it’s a relatable bit of character-building for anyone who’s been a teenager or raised a teenager.

Andrew: Joel’s therapist, played by the wonderful Catherine O’Hara. (See, that’s why you don’t follow casting announcements, so you can watch a show and be like, “Oh, dang, is that Catherine O’Hara?”)

I didn’t know if it was a direct adaptation, but I did notice that the show’s video gamey storytelling reflexes were still fully intact. We almost instantly end up in a ruined grocery store chock-full of environmental storytelling (Ellie notes a happy birthday banner and 2003’s Employee of the Year wall).

And like in any new game new season of a TV show, we quickly run into a whole new variant of mushroom monster that retains some of its strategic instincts and can take cover rather than blindly rushing at you. Some of the jump scares were so much like quick-time events that I almost grabbed my controller so I could press X and help Ellie out.

Kyle: Yeah, it’s pretty easy to see that the semi-stealthy assault on the abandoned market came directly from the game. I felt like there was some implication that the “strategic” zombie still had a little more humanity left in her that was struggling to fight against the fungus’ pull, which was pretty chilling in the way it was presented.

Andrew: Yes! Fungus is still a maximally creepy and visually interesting way for an infection to spread, and it’s a visual note that helps TLoU stand out from other zombie stories.

It does seem like we’re moving into Phase 2 of most zombie apocalypse fiction. Phase 1 is: There’s an infection! Society collapses. Phase 2 is: Humanity attempts to rebuild. But maybe the scariest monster of all… is humankind??

I’ve always found Phase 2 to be inherently less interesting because I can watch all kinds of shows where people are the antagonists, but Joel and Ellie remain unique and compelling enough as characters that maybe they’ll carry me through.

A teenager should have some hobbies.

Credit: Warner Bros. Discovery

A teenager should have some hobbies. Credit: Warner Bros. Discovery

Kyle: The first game already established a lot in the way of “humans are the real monsters” vignettes. And while I still don’t want to give too much away, I will say that human-versus-human drama is definitely going to be an increasingly central part of the narrative going forward.

Speaking of which, I wondered what you made of the brief scenes we get with Abby leading a reluctant but willing band of revenge-seekers that see doctor-murdering Joel as an unalloyed evil (somewhat justifiably, especially from their point of view).

Andrew: My first thought was “look at all these clean, hot, well-coiffed apocalypse survivors.” At least Joel and Ellie both look a little weathered.

But in seriousness, yes, it’s obvious that What Joel Did is a bomb that’s going to go off sooner rather than later. Trying to address it without addressing it has pushed taciturn, closed-off Joel into therapy, where he insists to a woman whose (presumably infected) husband he killed that he’s a “good guy.” And it seems clear to me that Ellie’s shunning of Joel is coming from her sense that something is amiss, just as much as it is about a 19-year-old rebelling against her would-be father figure.

In Joel’s case, it’s telling that it seems like lying to Ellie is weighing on him more than the murder-rampage itself. But having these improbably fresh-faced Firefly remnants chasing him down will mean that he might end up paying for both.

Kyle: I think Joel can live with sacrificing the entire world to save Ellie. I don’t think he can live with Ellie knowing he did that pretty much against her explicit wishes.

Andrew: Oops!! Pobody’s nerfect!

Kyle: I’m sure Abby will understand if Joel just says he made an oopsie.

Andrew: Seriously. Can’t believe they’re still mad even after a five-year time jump. Can’t we all just move on?

As we close, and while at least trying to avoid spoilers, are there any game moments you’re looking forward to seeing? Or are you just hoping that this season can “fix” a story that didn’t work as well for you in video game form?

How can you stay mad at this man?

Credit: Warner Bros. Discovery

How can you stay mad at this man? Credit: Warner Bros. Discovery

Kyle: Actually, I don’t have to spoil anything to say that the scene at the dance was one I was looking forward to seeing in both the game and the show. That’s because a large chunk of it was the first bit of the game Sony ever showed during a memorable E3 2018 press conference, which would end up being the company’s last ever official E3 press presentation.

Besides making me an instant fan of the song “.44 Pistol,” that scene had me very excited to see how the social adventures of “All Growed Up” Ellie might develop. And while I don’t feel like the game really delivered a very satisfying or believable version of Ellie’s evolution, I’m hopeful the show might be able to smooth out some of the rough storytelling edges and give a more compelling version of the character.

Andrew: Yeah. Video games get remastered, but they mostly seek to preserve the original game rather than overhauling it. A well-funded multiseason TV adaptation is a rare opportunity for a redo.

Kyle: The way HBO handled the first season gives me hope that they can once again embrace the excellent world-building of the games while adding some prestige TV polish to the plot.

HBO’s The Last of Us is back for season 2, and so are we Read More »

wheel-of-time-recap:-the-show-nails-one-of-the-books’-biggest-and-bestest-battles

Wheel of Time recap: The show nails one of the books’ biggest and bestest battles

Andrew Cunningham and Lee Hutchinson have spent decades of their lives with Robert Jordan and Brandon Sanderson’s Wheel of Time books, and they previously brought that knowledge to bear as they recapped each first season episode and second season episode of Amazon’s WoT TV series. Now we’re back in the saddle for season 3—along with insights, jokes, and the occasional wild theory.

These recaps won’t cover every element of every episode, but they will contain major spoilers for the show and the book series. We’ll do our best to not spoil major future events from the books, but there’s always the danger that something might slip out. If you want to stay completely unspoiled and haven’t read the books, these recaps aren’t for you.

New episodes of The Wheel of Time season 3 will be posted for Amazon Prime subscribers every Thursday. This write-up covers episode seven, “Goldeneyes,” which was released on April 10.

Lee: Welcome back—and that was nuts. There’s a ton to talk about—the Battle of the Two Rivers! Lord Goldeneyes!—but uh, I feel like there’s something massive we need to address right from the jump, so to speak: LOIAL! NOOOOOOOOOO!!!! That was some out-of-left-field Game of Thrones-ing right there. My wife and I have both been frantically talking about how Loial’s death might or might not change the shape of things to come. What do you think—is everybody’s favorite Ogier dead-dead, or is this just a fake-out?

Image of Loial

NOOOOOOOOO

Credit: Prime/Amazon MGM Studios

NOOOOOOOOO Credit: Prime/Amazon MGM Studios

Andrew: Standard sci-fi/fantasy storytelling rules apply here as far as I’m concerned—if you don’t see a corpse, they can always reappear (cf. Thom Merrillin, The Wheel of Time season three, episode six).

For example! When the Cauthon sisters fricassee Eamon Valda to avenge their mother and Alanna laughs joyfully at the sight of his charred corpse? That’s a death you ain’t coming back from.

Even assuming that Loial’s plot armor has fallen off, the way we’ve seen the show shift and consolidate storylines means it’s impossible to say how the presence or absence of one character or another couple ripple outward. This episode alone introduces a bunch of fairly major shifts that could play out in unpredictable ways next season.

But let’s back up! The show takes a break from its usual hopping and skipping to focus entirely on one plot thread this week: Perrin’s adventures in the Two Rivers. This is a Big Book Moment; how do you think it landed?

Image of Padan Fain.

Fain seems to be leading the combined Darkfriend/Trolloc army.

Credit: Prime/Amazon MGM Studios

Fain seems to be leading the combined Darkfriend/Trolloc army. Credit: Prime/Amazon MGM Studios

Lee: I would call the Battle of the Two Rivers one of the most important events that happens in the front half of the series. It is certainly a defining moment for Perrin’s character, where he grows up and becomes a Man-with-a-capital-M. It is possibly done better in the books, but only because the book has the advantage of being staged in our imaginations; I’ll always see it as bigger and more impactful than anything a show or movie could give us.

Though it was a hell of a battle, yeah. The improvements in pulling off large set pieces continues to scale from season to season—comparing this battle to the Bel Tine fight back in the first bits of season one shows not just better visual effects or whatever, but just flat-out better composition and clearer storytelling. The show continues to prove that it has found its footing.

Did the reprise of the Manetheren song work for you? This has been sticky for me—I want to like it. I see what the writers are trying to do, and I see how “this is a song we all just kind of grew up singing” is given new meaning when it springs from characters’ bloody lips on the battlefield. But it just… doesn’t work for me. It makes me feel cringey, and I wish it didn’t. It’s probably the only bit in the entire episode that I felt was a swing and a miss.

Image of the battle of the Two Rivers

Darkfriends and Trollocs pour into Emond’s Field.

Darkfriends and Trollocs pour into Emond’s Field.

Andrew: Forgive me in advance for what I think is about to be a short essay but it is worth talking about when evaluating the show as an adaptation of the original work.

Part of the point of the Two Rivers section in The Shadow Rising is that it helps to back up something we’ve seen in our Two Rivers expats over the course of the first books in the series—that there is a hidden strength in this mostly-ignored backwater of Randland.

To the extent that the books are concerned with Themes, the two big overarching ones are that strength and resilience come from unexpected places and that heroism is what happens when regular, flawed, scared people step up and Do What Needs To Be Done under terrible circumstances. (This is pure Tolkien, and that’s the difference between The Wheel of Time and A Song of Ice and FireWoT wants to build on LotR‘s themes and ASoIaF is mainly focused on subverting them.)

But to get back to what didn’t work for you about this, the strength of the Two Rivers is meant to be more impressive and unexpected because these people all view themselves, mostly, as quiet farmers and hunters, not as the exiled heirs to some legendary kingdom (a la Malkier). They don’t go around singing songs about How Virtuous And Bold Was Manetheren Of Old, or whatever. Manetheren is as distant to them as the Roman Empire, and those stories don’t put food on the table.

So yeah, it worked for me as an in-the-moment plot device. The show had already played the “Perrin Rallies His Homeland With A Rousing Speech” card once or twice, and you want to mix things up. I doubt it was even a blip for non-book-readers. But it is a case, as with the Cauthon sisters’ Healing talents, where the show has to take what feels like too short a shortcut.

Lee: That’s a good set of points, yeah. And I don’t hate it—it’s just not the way I would have done it. (Though, hah, that’s a terribly easy thing to say from behind the keyboard here, without having to own the actual creative responsibility of dragging this story into the light.)

In amongst the big moments were a bunch of nice little character bits, too—the kinds of things that keep me coming back to the show. Perrin’s glowering, teeth-gritted exchange with Whitecloak commander Dain Bornhald was great, though my favorite bit was the almost-throwaway moment where Perrin catches up with the Cauthon sisters and gives them an update on Mat. The two kids absolutely kill it, transforming from sober and traumatized young people into giggling little sisters immediately at the sight of their older brother’s sketch. Not even blowing the Horn of Valere can save you from being made fun of by your sisters. (The other thing that scene highlighted was that Perrin, seated, is about the same height as Faile standing. She’s tiny!)

We also close the loop a bit on the Tinkers, who, after being present in flashback a couple of episodes ago, finally show back up on screen—complete with Aram, who has somewhat of a troubling role in the books. The guy seems to have a destiny that will take him away from his family, and that destiny grabs firmly ahold of him here.

Image of Perrin, Faile, and the Cauthon sisters

Perrin is tall.

Credit: Prime/Amazon MGM Studios

Perrin is tall. Credit: Prime/Amazon MGM Studios

Andrew: Yeah, I think the show is leaving the door open for Aram to have a happier ending than he has in the books, where being ejected from his own community makes him single-mindedly obsessed with protecting Perrin in a way that eventually curdles. Here, he might at least find community among good Two Rivers folk. We’ll see.

The entire Whitecloak subplot is something that stretches out interminably in the books, as many side-plots do. Valda lasts until Book 11 (!). Dain Bornhald holds his grudge against Perrin (still unresolved here, but on a path toward resolution) until Book 14. The show has jumped around before, but I think this is the first time we’ve seen it pull something forward from that late, which it almost certainly needs to do more of if it hopes to get to the end in whatever time is allotted to it (we’re still waiting for a season 4 renewal).

Lee: Part of that, I think, is the Zeno’s Paradox-esque time-stretching that occurs as the series gets further on—we’ll keep this free of specific spoilers, of course, but it’s not really a spoiler to say that as the books go on, less time passes per book. My unrefreshed off-the-top-of-my-head recollection is that there are, like, four, possibly five, books—written across almost a decade of real time—that cover like a month or two of in-universe time passing.

This gets into the area of time that book readers commonly refer to as “The Slog,” which slogs at maximum slogginess around book 10 (which basically retreads all the events of book nine and shows us what all the second-string characters were up to while the starting players were off doing big world-changing things). Without doing any more criticizing than the implicit criticizing I’ve already done, The Slog is something I’m hoping that the show obviates or otherwise does away with, and I think we’re seeing the ways in which such slogginess will be shed.

There are a few other things to wrap up here, I think, but this episode being so focused on a giant battle—and doing that battle well!—doesn’t leave us with a tremendous amount to recap. Do we want to get into Bain and Chiad trying to steal kisses from Loial? It’s not in the book—at least, I don’t think it was!—but it feels 100 percent in character for all involved. (Loial, of course, would never kiss outside of marriage.)

Image of Loial, Bain, and Chiad

A calm moment before battle.

Credit: Prime/Amazon MGM Studios

A calm moment before battle. Credit: Prime/Amazon MGM Studios

Andrew: All the Bain and Chiad in this episode is great—I appreciate when the show decides to subtitle the Maiden Of The Spear hand-talk and when it lets context and facial expressions convey the meaning. All of the Alanna/Maksim stuff is great. Alanna calling in a storm that rains spikes of ice on all their enemies is cool. Daise Congar throwing away her flask after touching the One Power for the first time was a weird vaudevillian comic beat that still made me laugh (and you do get a bit more, in here, that shows why people who haven’t formally learned how to channel generally shouldn’t try it). There’s a thread in the books where everyone in the Two Rivers starts referring to Perrin as a lord, which he hates and which is deployed a whole bunch of times here.

I find myself starting each of these episodes by taking fairly detailed notes, and by the middle of the episode I catch myself having not written anything for minutes at a time because I am just enjoying watching the show. On the topic of structure and pacing, I will say that these episodes that make time to focus on a single thread also make more room for quiet character moments. On the rare occasions that we get a less-than-frenetic episode I just wish we could have more of them.

Lee: I find that I’m running out of things to say here—not because this episode is lacking, but because like an arrow loosed from a Two Rivers longbow, this episode hurtles us toward the upcoming season finale. We’ve swept the board clean of all the Perrin stuff, and I don’t believe we’re going to get any more of it next week. Next week—and at least so far, I haven’t cheated and watched the final screener!—feels like we’re going to resolve Tanchico and, more importantly, Rand’s situation out in the Aiel Waste.

But Loial’s unexpected death (if indeed death it was) gives me pause. Are we simply killing folks off left and right, Game of Thrones style? Has certain characters’ plot armor been removed? Are, shall we say, alternative solutions to old narrative problems suddenly on the table in this new turning of the Wheel?

I’m excited to see where this takes us—though I truly hope we’re not going to have to say goodbye to anyone else who matters.

Closing thoughts, Andrew? Any moments you’d like to see? Things you’re afraid of?

Image of Perrin captured

Perrin being led off by Bornhald. Things didn’t exactly work out like this in the book!

Credit: Prime/Amazon MGM Studios

Perrin being led off by Bornhald. Things didn’t exactly work out like this in the book! Credit: Prime/Amazon MGM Studios

Andrew: For better or worse, Game of Thrones did help to create this reality where Who Dies This Week? was a major driver of the cultural conversation and the main reason to stay caught up. I’ll never forget having the Red Wedding casually ruined for me by another Ars staffer because I was a next-day watcher and not a day-of GoT viewer.

One way to keep the perspectives and plotlines from endlessly proliferating and recreating The Slog is simply to kill some of those people so they can’t be around to slow things down. I am not saying one way or the other whether I think that’s actually a series wrap on Loial, Son Of Arent, Son Of Halan, May His Name Sing In Our Ears, but we do probably have to come to terms with the fact that not all fan-favorite septenary Wheel of Time characters are going to make it to the end.

As for fears, mainly I’m afraid of not getting another season at this point. The show is getting good enough at showing me big book moments that now I want to see a few more of them, y’know? But Economic Uncertainty + Huge Cast + International Shooting Locations + No More Unlimited Cash For Streaming Shows feels like an equation that is eventually going to stop adding up for this production. I really hope I’m wrong! But who am I to question the turning of the Wheel?

Credit: WoT Wiki

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creating-a-distinctive-aesthetic-for-daredevil:-born-again

Creating a distinctive aesthetic for Daredevil: Born Again


Ars chats with cinematographer Hillary Fyfe Spera on bringing a 1970s film vibe to the Marvel series.

Enthusiasm was understandably high for Daredevil: Born Again, Marvel’s revival of the hugely popular series in the Netflix Defenders universe. Not only was Charlie Cox returning to the title role as Matt Murdock/Daredevil, but Vincent D’Onofrio was also coming back as his nemesis, crime lord Wilson Fisk/Kingpin. Their dynamic has always been electric, and that on-screen magic is as powerful as ever in Born Again, which quickly earned critical raves and a second season that is currently filming.

(Some spoilers for the series below, but no major reveals beyond the opening events of the first episode.)

Born Again was initially envisioned as more of an episodic reset rather than a straight continuation of the serialized Netflix series. But during the 2023 Hollywood strikes, with production halted, the studio gave the show a creative overhaul more in line with the Netflix tone, even though six episodes had been largely completed by then. The pilot was reshot completely, and new footage was added to subsequent episodes to ensure narrative continuity with the original Daredevil—with a few well-placed nods to other characters in the MCU for good measure.

It was a savvy move. Sure, fans were shocked when the pilot episode killed off Matt’s best friend and law partner, Foggy Nelson (Elden Hensen), in the first 10 minutes, with his grief-stricken law partner, Karen Page (Deborah Ann Woll), taking her leave from the firm by the pilot’s end. But that creative choice cleared the decks to place the focus squarely on Matt’s and Fisk’s parallel arcs. Matt decides to focus on his legal work while Fisk is elected mayor of New York City, intent on leaving his criminal life behind. But each man struggles to remain in the light as the dark sides of their respective natures fight to be released.

The result is a series that feels very much a part of its predecessor while still having its own distinctive feel. Much of that is due to cinematographer Hillary Fyfe Spera, working in conjunction with the broader production team to bring Born Again‘s aesthetic to vivid life. Fyfe Spera drew much of her inspiration from 1970s films like Taxi DriverThe French Connection, The Conversation, and Klute. “I’m a big fan of films of the ’70s, especially New York films,” Fyfe Spera told Ars. “It’s pervaded all of my cinematography from the beginning. This one in particular felt like a great opportunity to use that as a reference. There’s a lot of paranoia, and it’s really about character, even though we’re in a comic book environment. I just thought that the parallels of that reference were solid.”

Ars caught up with Fyfe Spera to learn more.

Karen, Matt, and Foggy enjoy a moment of camaraderie before tragedy strikes. Marvel Studios/Disney+

Ars Technica: I was surprised to learn that you never watched an episode of the original Netflix series when designing the overall look of Born Again. What was your rationale for that?

Hillary Fyfe Spera: I think as a creative person you don’t want to get too much in your head before you get going. I was very aware of Daredevil, the original series. I have a lot of friends who worked on it. I’ve seen sequences, which are intimidatingly incredible. [My decision] stemmed from wanting to bring something new to the table. We still pay homage to the original; that’s in our blood, in our DNA. But there was enough of that in the ether, and I wanted to think forward and be very aware of the original comics and the original lore and story. It was more about the identities of the characters and making sure New York itself was an authentic character. Looking back now, we landed in a lot of the same places. I knew that would happen naturally.

Ars Technica:  I was intrigued by your choice to use anamorphic lenses, one assumes to capture some of that ’70s feel, particularly the broad shots of the city.

Hillary Fyfe Spera: It’s another thing that I just saw from the very beginning; you just get a feeling about lenses in your gut. I know the original show was 1.78; I just saw this story as 2.39. It just felt like so many of the cityscapes exist in that wide-screen format. For me, the great thing about anamorphic is the relationship within composition in the lens. We talk about this dichotomy of two individuals or reflections or parallel worlds. I felt the widescreen gave us that ability. Another thing we do frequently is center framing, something the widescreen lens can really nail. Also, we shoot with these vintage-series Panavision anamorphics, which are so beautiful and textured, and have beautiful flaring effects. It brought organic textured elements to the look of the show that were a little out of the box.

Ars Technica: The city is very much a character, not just a showy backdrop. Is that why you insisted on shooting as much as possible on location?

Hillary Fyfe Spera: We shot in New York on the streets, and that is a challenge. We deal with everything from weather to fans to just New Yorkers who don’t really care, they just need to go where they’re going. Rats were a big part of it. We use a lot of wet downs and steam sources to replicate what it looks like outside our window every day. It’s funny, I’ll walk down the street and be like, “Oh look at that steam source, it’s real, it’s coming out of the street.”

Shooting a show of this scale and with its demands in a practical environment is such a fun challenge, because you have to be beholden to what you’re receiving from the universe. I think that’s cool. One of my favorite things about cinematography is that you can plan it to an inch of its life, prepare a storyboard and shot list as much as you possibly can, and then the excitement of being out in the world and having to adapt to what’s happening is a huge part of it. I think we did that. We had the confidence to say, “Well, the sun’s setting over there and that looks pretty great, let’s make that an element, let’s bring it in.” Man, those fluorescent bulbs that we can’t turn off across the street? They’re part of it. They’re the wrong color, but maybe they’re the right color because that’s real.

Ars Technica: Were there any serendipitous moments you hadn’t planned but decided to keep in the show anyway? 

Hillary Fyfe Spera: There’s one that we were shooting on an interior. It was on a set that we built, where Fisk has a halo effect around his head. It’s a reflection in a table. That set was built by Michael Shaw, our production designer. One of our operators happened to tilt the camera down into the reflection, and we’re like, “Oh my God, it’s right there.” Of course, it ended up in the show; it was a total gimme. Another example is a lot of our New York City street stuff, which was completely just found. We just went out there and we shot it: the hotdog carts, the streets, the steam, the pigeons. There’s so many pigeons. I think it really makes it feel authentic.

Ars Technica: The Matt Murdock/Wilson Fisk dynamic is so central to the show. How does the cinematography visually enhance that dynamic? 

Hillary Fyfe Spera: They’re coming back to their identities as Kingpin and Daredevil, and they’re wrestling with those sides of themselves. I think in Charlie and Vincent’s case, both of them would say that neither one is complete without the other. For us, visually, that’s just such a fun challenge to be able to show that dichotomy and their alter egos. We do it a lot with lensing.

In Fisk’s case, we use a lot of wide-angle lenses, very close to him, very low angle to show his stature and his size. We use it with a white light in the pilot, where, as the Kingpin identity is haunting him and coming more to the surface, we show that with this white light. There’s the klieg lights of his inauguration, but then he steps into darkness and into this white light. It’s actually a key frame taken directly from the comic book, of that under light on him.

For Matt Murdock, it’s similar. He is wrestling with going back to being Daredevil, which he’s put aside after Foggy’s death. The red blinking light for him is an indication of that haunting him. You know it’s inevitable, you know he’s going to put the suit back on. It’s who these guys are, they’re damaged individuals dealing with their past and their true selves. And his world, just from an aesthetic place, is a lot warmer with a lot more use of handheld.

We’re using visual languages to separate everyone, but also have them be in the same conversation. As the show progresses, that arc is evolving. So, as Fisk becomes more Kingpin, we light him with a lot more white light, more oppression, he’s the institution. Matt is going into more of the red light environment, the warmer environment. There’s a diner scene between the two of them, and within their coverage Matt is shot handheld and Fisk is shot with a studio mode with a lockdown camera. So, we’re mixing, we’re blending it even within the scenes to try and stay true to that thesis.

Ars Technica: The episodes are definitely getting darker in terms of the lighting. That has become quite an issue, particularly on television, because many people’s TVs are not set up to be able to handle that much darkness.

Hillary Fyfe Spera: Yeah, when I visit my parents, I try to mess with their TV settings a little. People are just watching it in the wrong way. I can’t speak for everyone; I love darkness. I love a night exterior, I love what you don’t see. For me, that goes back to films like The French Connection. It’s all about what you don’t see. With digital, you see so much, you have so much latitude and resolution that it’s a challenge in the other way, where we’re trying to create environments where there is a lot of contrast and there is a lot of mystery. I just think cinematographers get excited with the ability to play with that. It’s hard to have darkness in a digital medium. But I think viewers on the whole are getting used to it. I think it’s an evolving conversation.

Ars Technica: The fight choreography looks like it would be another big challenge for a cinematographer.

Hillary Fyfe Spera: I need to give a shoutout to my gaffer, Charlie Grubbs, and key grip, Matt Staples. We light an environment, we shoot those sequences with three cameras a lot of times, which is hard to do from a lighting perspective because you’re trying to make every shot feel really unique. A lot of that fight stuff is happening so quickly that you want to backlight a lot, to really set out moments so you can see it. You don’t want to fall into a muddy movement world where you can’t really make out the incredible choreography. So we do try and set environments that are cinematic, but that shoot certain directions that are really going to pinpoint the movement and the action.

It’s a collaboration conversation with Phil Silvera, our stunt coordinator and action director: not only how we can support him, but how we can add these cinematic moments that sometimes aren’t always based in reality, but are just super fun. We’ll do interactive lighting, headlights moving through, flares, just to add a little something to the sequence. The lighting of those sequences are as much a character, I think, as the performances themselves.

Ars Technica: Will you be continuing the same general look and feel in terms of cinematography for S2?

Hillary Fyfe Spera: I’ve never come back for a second season. I love doing a project and moving on, but what was so cool about doing this one was that the plan is to evolve it, so we keep going. The way we leave things in episode nine—I don’t know if we’re picking up directly after, but there is a visual arc that lands in nine, and we will continue that in S2, which has its own arc as well. There are more characters and more storylines in S2, and it’s all being folded into the visual look, but it is coming from the same place: the grounded, ’70s New York look, and even more comic cinematic moments. I think we’re going to bring it.

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Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban.

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