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The Last of Us episode 5 recap: There’s something in the air

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: We’re five episodes into this season of The Last of Us, and most of the infected we’ve seen have still been of the “mindless, screeching horde” variety. But in the first episode of the season, we saw Ellie encounter a single “smart” infected person, a creature that retained some sense of strategy and a self-preservation instinct. It implied that the show’s monsters were not done evolving and that the seemingly stable fragments of civilization that had managed to take root were founded on a whole bunch of incorrect assumptions about what these monsters were and what they could do.

Amidst all the human-created drama, the changing nature of the Mushroom Zombie Apocalypse is the backdrop of this week’s entire episode, starting and ending with the revelation that a 2003-vintage cordyceps nest has become a hotbed of airborne spores, ready to infect humans with no biting required.

This is news to me, as a Non-Game Player! But Kyle, I’m assuming this is another shoe that you knew the series was going to drop.

Kyle: Actually, no. I suppose it’s possible I’m forgetting something, but I think the “some infected are actually pretty smart now” storyline is completely new to the show. It’s just one of myriad ways the show has diverged enough from the games at this point that I legitimately don’t know where it’s going to go or how it’s going to get there at any given moment, which is equal parts fun and frustrating.

I will say that the “smart zombies” made for my first real “How are Ellie and Dina going to get out of this one?” moment, as Dina’s improvised cage was being actively torn apart by a smart and strong infected. But then, lo and behold, here came Deus Ex Jesse to save things with a timely re-entrance into the storyline proper. You had to know we hadn’t seen the last of him, right?

Ellie is good at plenty of things, but not so good at lying low. Credit: HBO

Andrew: As with last week’s subway chase, I’m coming to expect that any time Ellie and Dina seem to be truly cornered, some other entity is going to swoop down and “save” them at the last minute. This week it was an actual ally instead of another enemy that just happened to take out the people chasing Ellie and Dina. But it’s the same basic narrative fake-out.

I assume their luck will run out at some point, but I also suspect that if it comes, that point will be a bit closer to the season finale.

Kyle: Without spoiling anything from the games, I will say you can expect both Ellie and Dina to experience their fair share of lucky and unlucky moments in the episodes to come.

Speaking of unlucky moments, while our favorite duo is hiding in the park we get to see how the local cultists treat captured WLF members, and it is extremely not pretty. I’m repeating myself a bit from last week, but the lingering on these moments of torture feels somehow more gratuitous in an HBO show, even when compared to similarly gory scenes in the games.

Andrew: Well we had just heard these cultists compared to “Amish people” not long before, and we already know they don’t have tanks or machine guns or any of the other Standard Issue The Last of Us Paramilitary Goon gear that most other people have, so I guess you’ve got to do something to make sure the audience can actually take the cultists seriously as a threat. But yeah, if you’re squeamish about blood-and-guts stuff, this one’s hard to watch.

I do find myself becoming more of a fan of Dina and Ellie’s relationship, or at least of Dina as a character. Sure, her tragic backstory’s a bit trite (she defuses this criticism by pointing out in advance that it is trite), but she’s smart, she can handle herself, she is a good counterweight to Ellie’s rush-in-shooting impulses. They are still, as Dina points out, doing something stupid and reckless. But I am at least rooting for them to make it out alive!

Kyle: Personality wise the Dina/Ellie pairing has just as many charms as the Joel/Ellie pairing from last season. But while I always felt like Joel and Ellie had a clear motivation and end goal driving them forward, the thirst for revenge pushing Dina and Ellie deeper into Seattle starts to feel less and less relevant the more time goes on.

The show seems to realize this, too, stopping multiple times since Joel’s death to kind of interrogate whether tracking down these killers is worth it when the alternative is just going back to Jackson and prepping for a coming baby. It’s like the writers are trying to convince themselves even as they’re trying (and somewhat failing, in my opinion) to convince the audience of their just and worthy cause.

Andrew: Yeah, I did notice the points where Our Heroes paused to ask “are we sure we want to be doing this?” And obviously, they are going to keep doing this, because we have spent all this time setting up all these different warring factions and we’re going to use them, dang it!! But this has never been a thing that was going to bring Joel back, and it only seems like it can end in misery, especially because I assume Jesse’s plot armor is not as thick as Ellie or Dina’s.

Kyle: Personally I think the “Ellie and Dina give up on revenge and prepare to start a post-apocalyptic family (while holding off zombies)” would have been a brave and interesting direction for a TV show. It would have been even braver for the game, although very difficult for a franchise where the main verbs are “shoot” and “stab.”

Andrew: Yeah if The Last of Us Part II had been a city-building simulator where you swap back and forth between managing the economy of a large town and building defenses to keep out the hordes, fans of the first game might have been put off. But as an Adventure of Link fan I say: bring on the sequels with few-if-any gameplay similarities to their predecessors!

The cordyceps threat keeps evolving. Credit: HBO

Kyle: “We killed Joel” team member Nora definitely would have preferred if Ellie and Dina were playing that more domestic kind of game. As it stands, Ellie ends up pursuing her toward a miserable-looking death in a cordyceps-infested basement.

The chase scene leading up to this mirrors a very similar one in the game in a lot of ways. But while I found it easy to suspend my disbelief for the (very scripted) chase on the PlayStation, watching it in a TV show made me throw up my hands and say “come on, these heavily armed soldiers can’t stop a little girl that’s making this much ruckus?”

Andrew: Yeah Jesse can pop half a dozen “smart” zombies in half a dozen shots, but when it’s a girl with a giant backpack running down an open hallway everyone suddenly has Star Wars Stormtrooper aim. The visuals of the cordyceps den, with the fungified guys breathing out giant clouds of toxic spores, is effective in its unsettling-ness, at least!

This episode’s other revelation is that what Joel did to the Fireflies in the hospital at the end of last season is apparently not news to Ellie, when she hears it from Nora in the episode’s final moments. It could be that Ellie, Noted Liar, is lying about knowing this. But Ellie is also totally incapable of controlling her emotions, and I’ve got to think that if she had been surprised by this, we would have been able to tell.

Kyle: Yeah, saying too much about what Ellie knows and when would be risking some major spoilers. For now I’ll just say the way the show decided to mix things up by putting this detailed information in Nora’s desperate, spore-infested mouth kind of landed with a wet thud for me.

I was equally perplexed by the sudden jump cut from “Ellie torturing a prisoner” to “peaceful young Ellie flashback” at the end of the episode. Is the audience supposed to assume that this is what is going on inside Ellie’s head or something? Or is the narrative just shifting without a clutch?

Andrew: I took it to mean that we were about to get a timeline-breaking departure episode next week, one where we spend some time in flashback mode filling in what Ellie knows and why before we continue on with Abby Quest. But I guess we’ll see, won’t we!

Kyle: Oh, I’ve been waiting with bated breath for a bevy of flashbacks I knew were coming in some form or another. But the particular way they shifted to the flashback here, with mere seconds left in this particular brutal episode, was baffling to me.

Andrew: I think you do it that way to get people hyped about the possibility of seeing Joel again next week. Unless it’s just a cruel tease! But it’s probably not, right? Unless it is!

Kyle: Now I kind of hope the next episode just goes back to Ellie and Dina and doesn’t address the five seconds of flashback at all. Screw you, audience!

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The Justice League is not impressed in Peacemaker S2 teaser

Cena, Brooks, Holland, Agee, and Stroma are all back for S2, along with Nhut Lee as Judomaster and Eagly, of course. Robert Patrick is also listed in the S2 cast, reprising his role as Chris’ father, Auggie; since Chris killed him in S1, one assumes Auggie will appear in flashbacks, hallucinations, or perhaps an alternate universe. (This is a soft reboot, after all.) New cast members include Frank Grillo as Rick Flagg Sr. (Grillo voiced the role in the animated Creature Commandos), now head of A.R.G.U.S. and out to avenge his son’s death; Tim Meadows as A.R.G.U.S. agent Langston Fleury; and Sol Rodriguez as Sasha Bordeaux.

Set to “Oh Lord” by Foxy Shazam, the teaser opens with Leota driving Chris to a job interview, assuring him, “They’re gonna be doing backflips to get you to join.” It turns out to be an interview with Justice League members Green Lantern/Guy Gardner (Nathan Fillion), Hawkgirl/Kendra Saunders (Isabel Merced), and Maxwell Lord (Sean Gunn), but they are not really into the interviewing process or taking note of Chris’ marksmanship and combat skills. They even diss poor Chris while accidentally keeping the microphone turned on: “This guy sucks.” (All three reprise their roles from Superman and are listed as S2 cast members, but it’s unclear how frequently they will appear.)

The other team members aren’t faring much better. They saved the world from the butterflies; you’d think people would treat them with a bit more respect, if not as outright heroes. Leota is “living in the worst level of Grand Theft Auto,” per John Economos; Emilia Harcourt has anger management issues and is diagnosed with “a particularly severe form of toxic masculinity”; and Vigilante is working in the food service industry. There’s not much detail as to the plot, apart from Chris going on the run from A.R.G.U.S., but the final scene shows Chris walking through a door and encountering another version of himself. So things are definitely about to get interesting.

The second season of Peacemaker will premiere on Max on August 21, 2025.

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The Last of Us takes Dina and Ellie on a tense, pictuesque Seattle getaway

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 after they air. 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: We start this episode from the perspective of a band of highly armed FEDRA agents in 2018 Seattle, shooting the shit in a transport that somehow still has usable gasoline. Maybe it’s just the political moment we’re in, but I was not quite emotionally prepared for these militarized characters in my post-apocalyptic escape show to start casually using “voters” as an ironic signifier for regular people.

“LOL, like we’d ever let them vote, amirite?”

Andrew: We’ve spent so little time with FEDRA—the post-collapse remnant of what had once been the US government—since the very opening episodes of the show that you can forget exactly why nearly every other individual and organization in the show’s world hates it and wants nothing to do with it. But here’s a reminder for us: casual cruelty, performed by ignorant fascists.

Of course as soon as you see and hear Jeffrey Wright, you know he’s going to be A Guy (he’s an HBO alum from Boardwalk Empire and Westworld, among many, many other film, TV, vocal, and stage performances). He just as casually betrays and blows up the transport full of jumped-up FEDRA jarheads, which is a clear prestige TV storytelling signifier. Here is a Man With A Code, but also a Man To Be Feared.

Kyle: Yeah, Isaac’s backstory was only broadly hinted at in the games, so getting to see this big “Who This Character Is” moment in the show was pretty effective.

What I found less effective was Ellie playing a very able A-Ha cover when she discovers the abandoned guitar room. In the game it serves as a welcome change of pace from a lot of frenetic action, and a good excuse for an endearing guitar-playing mini-game. Here it felt like it just kind of dragged on, with a lot of awkward dwelling on close-ups of Dina’s creepily enamored face.

I’ll…. be….. gone….. in a day or… twooooooooo.

Credit: Warner Bros. Discovery

I’ll…. be….. gone….. in a day or… twooooooooo. Credit: Warner Bros. Discovery

Andrew: You know what, though, I do appreciate that the show at least made an effort to explain why this 30-year-old guitar was still in pristine condition. I don’t instantly buy that the silica gel packets (which Ellie, wisely, does not eat) in the guitar case would have lasted for that long, but at least she didn’t pull a mossy guitar straight off the wall and start tuning it up. Those strings are gonna corrode! That neck is gonna warp!

I do also think the show (and the game, I guess, picking up your context clues) got away with picking one of the goofiest songs they possibly could that would still read as “soulful and emotionally resonant” when played solo on acoustic guitar. But I suppose that’s always been the power of that particular instrument.

Kyle: Both the game and the show have leaned heavily on the ’80s nostalgia that Joel passed on to Ellie, and as a child of the ’80s, I’ll be damned if I said it doesn’t work on me on that level.

Andrew: It’s also, for what it’s worth, exactly what a beginner-to-intermediate guitar player is going to know how to do. If I find a guitar during an apocalypse, all people are going to be able to get out of me are mid-2000s radio singles with easy chord progressions. It’s too bad that society didn’t last long enough in this reality to produce “Boulevard of Broken Dreams.”

Kyle: Not to cut short “Guitar Talk,” but the show cuts it off with a creepy scene of Isaac talking about high-end cookware to an initially unseen companion on the floor. The resulting scene of torture is, for my money, way worse than most anything we’re exposed to in the games—and these are games that are not exactly squeamish about showing scenes of torture and extreme violence!

Felt to me like they’re taking advantage of HBO’s reputation for graphic content just because they could, here…

Andrew: Definitely gratuitous! But not totally without storytelling utility. I do think, if you’re setting Isaac up to be a mid-season miniboss on the road to the Dramatic Confrontation with Abby, that you’ve got to make it especially clear that he is capable of really nasty things. Sure, killing a truckful of guys is ALSO bad, but they were guys that we as viewers are all supposed to hate. Torturing a defenseless man reinforces the perception of him as someone that Ellie and Dina do not want to meet, especially now that they’ve popped a couple of his guys.

Because Ellie and Dina have unwittingly wandered into the middle of a Seattle civil war of sorts, between Isaac and his militarized WLF members and the face-cutting cultists we briefly met in the middle of last episode. And while the WLF types do seem to have the cult outgunned, we are told here that WLF members are slowly defecting to the cult (rather than the other way around).

Welcome back to “Jeffrey Wright discusses cookware.” I’m Jeffrey Wright. Today on program, we have a very special guest…

Credit: Warner Bros. Discovery

Welcome back to “Jeffrey Wright discusses cookware.” I’m Jeffrey Wright. Today on program, we have a very special guest… Credit: Warner Bros. Discovery

Kyle: I will say I appreciated the surprisingly cogent history of the “chicken and egg games” beef between the two factions, as discussed between torturer and torture victim. Definitely a memorable bit of world-building.

But then we’re quickly back to the kind of infected attack scene that now seems practically contractually obligated to happen at least once an episode. At this point, I think these kinds of massive setpiece zombie battles would work better as a light seasoning than a thick sauce that just gets dumped on us almost every week.

Andrew: People in and from Seattle seem to have a unique gift for kicking up otherwise dormant swarms of infected! I know we’ll get back to it eventually, but I was more intrigued by the first episode’s reveal of more strategic infected that seemed to be retaining more of their human traits than I am by these screaming mindless hordes. Here, I think the tension is also ratcheted up artificially by Ellie’s weird escape strategy, which is to lead the two of them through a series of dead ends and cul-de-sacs before finally, barely, getting away.

But like you said, gotta have zombies on the zombie show! And it does finally make the “Dina finds out that Ellie is immune” shoe drop, though Dina doesn’t seem ready to think through any of the other implications of that reveal just yet. She has her own stuff going on!

Kyle: Yes, I’ve had to resist my inclination to do the remote equivalent of nudging you in the ribs to see if you had picked up on the potential “morning sickness” explanation of Dina’s frequent vomiting (which was hidden decently amid the “vomiting because of seeing horrifying gore” explanation).

Andrew: It does explain a couple of things! It does seem like a bit of a narrative shortcut to make Ellie extremely invested in Dina and whether she lives or dies, and given this show I am worried that this zygote is only going to be used to create more trauma for Ellie, rather than giving us a nuanced look at parenting during an apocalypse. But it is sweet to see how enthusiastically and immediately Ellie gets invested.

A question for you, while spoiling as little as you can: Are we still mostly just adapting the game at this point? You’d mentioned getting more Isaac backstory (sometimes the show expands on backstories well and sometimes it doesn’t), and some things have happened a bit out of order. But my impression is that we haven’t gotten a full departure a la the Nick Offerman episode from last season yet.

How do we keep getting into these messes?

Credit: Warner Bros. Discovery

How do we keep getting into these messes? Credit: Warner Bros. Discovery

Kyle: At this point it’s kind of like a jazz riff on what happens in the game, with some bits copied note for note, some remixed and thrown into entirely different temporal locations, and some fresh new improv thrown in for good measure.

I’m definitely not a “the game is canon and you must interpret it literally” type of person, but the loose treatment is giving me a bit of whiplash. The reveal of Dina’s pregnancy, for instance, is not greeted with nearly as much immediate joy in the games. That said, the moment of joy Ellie and Dina do share here feels transplanted (in tone if nothing else) from an earlier game scene that the show had mostly skipped thus far. It’s like free association, man. Dig it!

The show also spends an inordinate amount of time discussing how pregnancy tests work in the post-apocalypse, which for me pushed past world-building and into overexplaining. It’s OK to just let stuff be sometimes, y’know?

Andrew: It’s jazz, man. It’s about the zombies you don’t kill.

However it’s been rearranged, I can still tell I’m watching a video game adaptation, because there are stealth kills and because important information is conveyed via messages and logos scrawled in blood on the walls. But I am still enjoying myself, and doing slightly less minute-to-minute missing of Joel than I did last episode. Slightly.

The episode ends with Ellie and Dina hearing the name of someone who has the same name as someone who knew Abby over a WLF walkie-talkie they nabbed, which gives them their next objective marker for Abby Quest. But they’ve got to cross an active war zone to get where they’re going (though I couldn’t tell from that distance whether we’re meant to be able to tell exactly who is fighting who at the moment). Guess I’ll have to wait and see!

Kyle: Personally, I’m hoping we see the moment where the newly out-and-proud bisexual Dina finally realizes “what’s the deal with all the rainbows.” Show your post-apocalyptic pride, girl!

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Review: Thunderbolts* is a refreshing return to peak Marvel form

It looks like Marvel has another critical and box office hit on its hands—and deservedly so—with Thunderbolts*, a follow-up of sorts to 2021’s Black Widow and the final film in the MCU’s Phase Five.

Yes, the asterisk is part of the title. Yes, I found that choice inexplicable when it was first announced. And yes, having seen the film, the asterisk makes perfect sense now as a well-timed joke. I won’t spill the beans because that would spoil the fun. Instead, I’ll simply say that Thunderbolts* is a refreshing return to peak Marvel form: well-paced, witty, and action-packed with enough heart to ensure you care about the characters.

(Some spoilers below.)

It’s basically the MCU’s version of The Suicide Squad (2021) with less over-the-top R-rated violence. In fact, that film’s director, James Gunn, was originally attached to direct Thunderbolts* but bowed out because he felt the projects were just too similar. Yet the PG-13 film definitely boasts that irreverent Gunn sensibility, with a vibe on par with the director’s delightful Guardians of the Galaxy (2014). Thunderbolts* might not reach the spectacular box office heights of last year’s R-rated Deadpool and Wolverine, but so far I’m optimistic about the MCU’s future.

Black Widow introduced us to Natasha Romanoff’s (Scarlett Johansson) backstory as a child recruited for training as an elite assassin, along with her adoptive sister (and equally lethal assassin) Yelena Belova (Florence Pugh). Thunderbolts* finds Yelena working as a hired mercenary for CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus), but she’s still grieving the loss of Natasha, and her heart just isn’t in.

Yelena’s existential ennui leads her to seek out her adoptive father, Alexei/Red Guardian (David Harbour), the Russian super soldier counterpart to Captain America. He’s not doing much better, working as a limo driver and living off takeout, and tells Yelena that Natasha found the secret to fulfillment: be a superhero.

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monty-python-and-the-holy-grail-turns-50

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 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

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 personal 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 few 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 friend 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 personalties 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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netflix-drops-wednesday-s2-teaser,-first-look-images

Netflix drops Wednesday S2 teaser, first-look images

Jenna Ortega is back in the titular role for S2 of the Netflix series, Wednesday.

It’s been a long, long wait, but we’re finally getting a second season of the Netflix supernatural horror comedy, Wednesday. The streaming giant dropped the first teaser and several first-look images to whet our appetites for what promises to be an excellent follow-up to the delightful first season.

(Spoilers for S1 below.)

As previously reported, director Tim Burton famously turned down the opportunity to direct the 1991 feature film The Addams Family, inspired by characters created by American cartoonist Charles Addams for The New Yorker in 1938. Wednesday showrunners Alfred Gough and Miles Millar—best known for Smallville—expected Burton to turn them down as well when they made their pitch. He signed up for the project instead.

This was an older, edgier, and even darker Wednesday (Jenna Ortega) than the dour young girl Christina Ricci made famous in the 1990s. Aloof, sardonic, and resolutely independent, she was very much the problem child, even by Addams standards, having been expelled from eight schools in five years. Hence her enrollment at Nevermore Academy, a haven for so-called “outcasts” and the alma mater of her parents.

Wednesday struggled to fit in at first, clashing with her cheery werewolf roommate Enid (Emma Myers) and the school queen bee, a siren named Bianca (Joy Sunday). Then she began investigating a string of brutal murders, leading her to resolve some long-standing family issues and delve into the school’s dark history. It all added up to a winning formula—basically a very good eight-hour Burton movie with a spooky murder mystery at its core.

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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.

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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 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 one who 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 »