Spoilers for “Lucky Day.”

When the writers for this season of Doctor Who were announced, one name in the roster put me instantly on edge. Pete McTighe may have a distinguished filmography but, in this house, he’s known as the person who wrote “Kerblam.” That’s the Chibnall-era episode summed up as “Space Amazon is great and the people protesting poor working conditions and mass-layoffs are the real villains.” Imagine then, my delighted surprise when “Lucky Day” doesn’t just get its politics right, but it does so with molotov cocktails in hand.

James Pardon/BBC Studios/Disney/Bad Wolf

It’s 2007 and the Doctor and Belinda land in London as the clock strikes midnight on New Year’s Day. The Doctor, Vindicator in hand, gets another set of coordinates before realizing a small boy, Conrad Clack, saw the TARDIS land. He hands Conrad a 50 pence piece and tells him it’s his “lucky day,” before the boy sprints back to his mother. But she’s not interested in his story about a magical blue box, striking the boy and saying she’s had enough of his lies.

Conrad next encounters the TARDIS 17 years later when he spots it parked down a dark alley. There's a nearby door with a broken lock and he ventures inside to a closed down department store, where he’s stalked by an unseen monster. After a few seconds, the monster brushes past Conrad, leaving green slime on his neck — which is how it marks its prey. When the creature, the Shreek, emerges into the open ready to strike, it’s zapped away by the Doctor and Ruby.

From the shadows, Conrad watches the Doctor hand Ruby a vial of antidote as she, too, was marked as prey. He stalks them back to the TARDIS and overhears their conversation — half an hour prior, she was hanging out with the Beatles, putting this just after “The Devil’s Chord.” He snaps a picture of Ruby and puts it online, asking the internet if anyone has seen this woman.

He tracks down Ruby at some point after she stops traveling in the TARDIS, and invites her onto his podcast. Conrad tries to flirt with his guest, and a quick montage shows them date and start to get serious about each other. He even confesses he was present during that first encounter with the Shreek, and Ruby hands him a vial of antidote. She says the Shreek, which had tagged him with green slime, was preparing to return to this dimension to hunt him again. But UNIT — the Doctor’s military allies here on Earth — captured it (off-screen).

The pair go to a countryside village where Conrad introduces her to his friends in a quiet pub. But, as night draws in, the lights begin to flicker, and the blink-and-you-miss-it blurs of scary monsters appear outside. One of Conrad’s friends, Sparky, goes missing, and Ruby calls UNIT who leap into action despite no signs of a Shreek incursion. Conrad confesses to Ruby he didn’t take the antidote, wanting to prove to her he was as brave as the Doctor to win her heart.

When UNIT arrives, soldiers face off with a pair of Shreek monsters until they reveal they’re just Conrad’s stooges in rubber suits. Conrad isn’t an innocent caught up in a crisis he can’t comprehend, he’s a conspiracy theorist streamer claiming UNIT is a sham organization. He’s the type to engineer stunts and deceptively edit the resulting footage to smear his targets. I won’t name the real world figures Conrad is inspired by as we’d get angry emails from their lawyers, but I’m sure you can work out who they are.

Conrad’s encounter with UNIT was livestreamed, and there’s another montage of people talking to their generic social media followers decrying the organization. He’s arrested, but quickly released, and given a welcome press tour by the British media, including a favorable BBC News report and a joke on the UK version of The Masked Singer. Conrad even gets consoled during an interview on The One Show — a prime time talk / magazine show — by its real presenter Alex Jones (not that one).

UNIT’s overseers in the UK government and Geneva buckle to public pressure to put UNIT under close scrutiny. As its head, Kate Lethbridge-Stewart says, imagine the fate of the world if any dictator got their hands on UNIT’s arsenal of captured alien technology. Someone senior at UNIT demands the caged (and real) Shreek captured off-screen be removed from London and brought up to the helipad ready for transit. Meanwhile, Conrad has a man on the inside, who has been radicalized into believing his own employers are a sham, who helps him break into UNIT HQ.

Kate refuses to lock the building down, insisting that it’s time the issue was solved once and for all. Conrad, with a stolen UNIT rifle in hand, tries to bait Kate into attacking her on camera with some vicious slander about her father, the legendary Brigadier. Kate is happy the Doctor isn’t here, since he won’t stop her from doing what the audience has been demanding she do for the last few minutes. She opens the cage holding the Shreek and lets it go for Conrad.

Like all two-bit bullies, Conrad crumbles in the face of real danger and starts begging for mercy but Kate refuses. Sadly, Shirley hands Ruby a taser, which she uses to knock out the Shreek before it can bite Conrad’s head off. Now that his life has been saved, Conrad goes back to playing up for the livestream, boasting that UNIT’s “special effects” have gotten better. At which point the Shreek wakes up and bites his arm off.

There’s a sharp cut, and next we see Conrad waking up in a prison cell with a contraption around his arm, presumably keeping it joined to his elbow. Suddenly, he hears the TARDIS noise and is brought aboard for the Doctor to tell him that he’s a bitter, sad person who will die in prison. But Conrad is unrepentant and says he “rejects” the Doctor’s “reality.” After he’s returned to the cell, he’s visited by Mrs. Flood, who confirms what he saw was real, and that she’s letting him free as it’s his “lucky day.”

Lara Cornell/BBC Studios/Disney/Bad Wolf

It does appear as if I owe Pete McTighe a fulsome apology and must assume he isn’t at fault for all of the reactionary politics of “Kerblam.” “Lucky Day” is both a worthy sequel to “73 Yards” and a sign that, if Doctor Who is just weeks from an enforced hiatus, then it’s going out swinging. It’s got a lot of targets, including the BBC’s habitual reputation-laundering of unsavory characters. The notion of who is in “the wrong” is made explicitly clear here, too, and Conrad occupies the same political (and narrative) circles as Roger ap Gwillam (Albion TV gets a reference).

Like a lot of this year’s run, the episode feels like an overstuffed script which was then cut down to fit a specific runtime. But the structural work underpinning things feel more solid here, so while a lot of the connective tissue is absent, it’s not to the detriment of the story. Kate’s decision to unleash the Shreek may have been well-telegraphed but it’s better than the solution appearing out of nowhere because there’s five minutes left to run.

There’s an element of the show playing to its strengths, and the genre savviness of its audience here as well. If you know the beats of a girl-meets-boy romance movie, then you’ll spot this is a cracked-ish mirror version of that. And we don’t need much evidence of Conrad’s villainy — calling the Doctor, UNIT and Kate a bunch of frauds to make money from his online audience — since we know they are our heroes. Plus, anyone who slanders Brigadier Lethbridge-Stewart, after all, deserves to get what’s coming to them.

“Lucky Day” is smart about how it introduces us to Conrad, too, giving us obvious red flags from the get-go. Adult Conrad has no reservations about taking a picture of a stranger and sharing it online for the internet to identify on his behalf. There’s a hint of judgment in how he asks about her relationship to and with the Doctor, mirroring the way Alan Budd flirted with Belinda in “The Robot Revolution.” In fact, it’s an interesting counterpoint to that episode, since we get enough time with Conrad early on to learn to at least be wary of him, rather than it being a fairly unsupported third-act twist.

If there’s one downside, it’s that the episode leans on the trope that survivors of abuse perpetuate that cycle of abuse. Conrad gets hit in the head by his mother and while it’s hard to assume a pattern of behavior from one scene, it didn’t seem like it was the first time. Much as we saw in “Lux,” there are limits to the storytelling possibilities inherent in a series about an immortal science clown traveling anywhere in time and space in a blue box.

This episode is also focused on Ruby’s post-TARDIS life, which has left her in a vulnerable position. As she admits at the end of the episode, her time with the Doctor was spent in a constant state of panic and peril. She’s tired, she’s alone and the first man she tried to form a relationship with turned out to be using her. That’s bound to leave a scar, but the after effects of a trip in the TARDIS is rarely discussed in the context of the series itself. The majority of the classic series' companions lacked detailed interior lives, while modern day ones often move on to other “exciting” things rather than back to a normal life.

Mrs. Flood Corner 

BBC Studios/Disney/Bad Wolf

It does appear as if the structure of the series isn’t just Russell T. Davies relying on a familiar rhythm but something more deliberate. “Lucky Day” is the fourth in a row that shares themes and elements with the same numbered episode in last year’s lineup. It’ll be interesting to see how much of next week’s “The Story and the Engine,” and the following week’s “The Interstellar Song Contest” shares with their counterparts from the first series.

It’s plausible that the time fracture that was featured in “The Robot Revolution” has, somehow, knocked the series off its previously-planned course. That either within the show’s fiction or in its metafiction, we’re explicitly seeing parallel versions of those previous episodes. If you recall from that episode, too, the Doctor says he was told to meet Belinda by an unknown person. What if he was chasing down Conrad’s lead, and if so, would that be enough to create a paradox (even if the TARDIS can avoid such obstacles)?

Then there’s the fact Conrad says he explicitly rejects the Doctor’s “reality,” which feels like a telling way of wording things. Especially as this season’s two-part finale is titled “Wish World” and “The Reality War,” although that title is hardly a massive clue. After all, last season’s finale was “Empire of Death,” as opposed to “The one in which it turns out Stuekh has been clinging to the TARDIS roof for God knows however long.”

I’m not sure I want to read too much into Mrs. Flood releasing Conrad since that, like last week, could simply be a topper to the story. It may be that she’s simply letting him out to wreak more havoc and undermine UNIT and the Doctor’s goals rather than anything specific. Not to mention that if Mrs. Flood is a dimension-surfing entity hell-bent on destroying the Doctor, she’s hardly going to have much use for a schmucky YouTuber.

This week, the BBC announced that “The Reality War” would not be getting its customary early in the day stream online. Instead, it’ll hit the iPlayer and Disney+ at the same time as the UK broadcast, and both episodes are being lined up for a small cinema release. That’s reserved for big event episodes, and it adds more weight to the rumor Gatwa has already left the show. Not to mention he’s starring in the play Born With Teeth from August 13 through November 11 — which would prevent him from shooting a season for 2026.

Outside the mystery box elements of the show, this season feels as if it’s having a meta conversation with itself. “Lucky Day,” for instance, takes a similar premise as “Love and Monsters,” a Doctor-lite episode focusing on one of the so-called ordinary people who are peripherally involved in the Doctor’s adventures. Conrad is initially presented as one of the lost souls who are drawn to the Doctor — you could almost describe them as fans — but who don’t shine brightly enough to get the Time Lord’s special attention.

Oh, and I can’t think of any reason beyond silly fan service that Conrad’s streaming outfit is called “Think Tank” beyond a deep cut nod to 1974’s “Robot.” After all, there’s almost nothing in common between the two entities and their goals are ostensibly in conflict.

The BBC announced a new addition to its Maestro series of masterclasses, featuring its first posthumous teacher, Agatha Christie, presenting her writing tips in 4K video. The best-selling author of literature in human history teaches an 11-lesson course on writing mysteries, and the BBC seems very aware of the issues circling AI, which provokes a mix of intrigue and, honestly, wariness.

Christie, who died in 1976, has had her likeness composited through a blend of licensed images, limited footage and past audio recordings. That data has been blended with actor Vivien Keene, who ‘performs’ the words of Christie on video. This is a more cautious approach. During a Q&A event at the course’s launch in London, Keene stated outright that this was a performance. It seems a particularly risky choice, too: a lot of writers, editors, and authors are facing AI tools that reduce job opportunities or absorb their writing (and IP) without permission to train AI models.

Image by Mat Smith for Engadget

The BBC says all the writing advice comes directly from her writings, author’s notes and archival interviews, curated by leading Christie experts and scholars, including Dr Mark Aldridge, Michelle Kazmer, Gray Robert Brown and Jamie Bernthal-Hooker. One of the stipulations from the Christie estate was that all the writing tips and guidance come directly from her. The makers claim that AI hasn't filled in the gaps or made guesses about her writing style, or what advice she might give.

The BBC’s Maestro series is part of the company’s business arm, offering over 40 courses in the style of Masterclass but with, obviously a lot more Brits, priced at $10 per month. (Don’t let the fact that the Diary of a CEO guy is there put you off – the Billy Connolly course is excellent.) 

However, for this course, the team ballooned to over 100 people, factoring AI rendering experts, sound engineers and more, to deliver a convincing portrayal of the author of Murder on the Orient Express, Mousetrap and, well, all the others.

Image by Mat Smith for Engadget

During the Q&A (at the glamorous Claridges hotel, of course), Dr. Mark Aldridge explained that in A Murder’s Announced, Christie had a different murderer in mind when she first began writing that book – something vital if you're trying to convey her writing process. This could then be folded into the course guidance and content.

At the launch event – with almost enough champagne to fill the Nile – I got to delve into the lessons. I’m not ready to pen a 50,000-word page-turner, it’s a convincing facsimile. There’s still a glint of uncanny valley, of course, (I think it’s something to do with the eyes?), but even BBC Maestro CEO Michael Levine noted that since the project’s inception a few years ago, the technology had evolved so quickly that the team was able to do even more than it first thought.

Levine joked that the only books that rivaled sales of Christie’s body of work by sheer volume are the works of Shakespeare and The Bible. There are no plans yet to add further ‘resurrected’ experts to the Maestro lineup.

Mark Zuckerberg says he believes most of the Meta's code will be written by AI agents sometime within the next year-and-a-half. Zuckerberg made the prediction during an hour-long interview with podcaster Dwarkesh Patel. 

"I would guess sometime in the next 12 to 18 months, we'll reach the point where most of the code that's going towards these efforts is written by AI," said Zuckerberg, referring to the company's efforts to build internal AI agents. "And I don't mean like autocomplete... I'm talking more like you give it a goal, it can run tests, it can improve things, it can find issues, it writes higher quality code than the average very good person on the team already." 

This is not the first time Zuckerberg has made this type of prediction. During his awkward appearance on The Joe Rogan Experience earlier this year, he said, "Probably in 2025, we at Meta, as well as the other companies that are basically working on this, are going to have an AI that can effectively be a sort of mid-level engineer that you have at your company that can write code." 

Notice how the goal posts have moved. Less than five months ago, Zuckerberg said coding agents that could effectively replace most human programmers were within reach. Now, those same systems will not arrive by mid-2026 at the earliest.

The changing timelines underscore exactly why we should be critical of the AI industry and its many promises. AI agents may very well one day replace mid-level programmers, but right now predictions like the one made by Zuckerberg and many others are, at best, advertisements for technologies that don't yet exist and may never perform at the level their advocates say they will. 

There are some cool games coming to PlayStation Plus in May, including one modern classic. This month’s titles include the universally-beloved Balatro, Warhammer 40,000: Boltgun and Ark: Survival Ascended. All three games will be available to PS Plus members beginning on May 6.

Unless you’ve been living under a rock, you’ve likely heard of Balatro. It’s sort of a sequel to poker and sort of a roguelike. It’s also utterly hypnotic and addictive. I’ve yet to find a human who didn’t become entranced by its simple and captivating gameplay. We have given this game lots of love, and with good reason. To play Balatro is to love Balatro and, over time, to start dreaming about insane combos. This is an absolute must-play for subscribers. It’ll be available for both PS4 and PS5.

Ark: Survival Ascended is a remake of 2015’s Ark: Survival Evolved that has been "reimagined from the ground-up with Unreal Engine 5." There’s new graphics, a new physics system and tons of quality-of-life upgrades. This version includes access to all DLC, like Scorched Earth, Aberration, Extinction, Ark Genesis Part 1 and Ark Genesis Part 2. It also allows for public online multiplayer for up to 70 players and local split-screen for two players. This one’s only for PS5.

Warhammer 40,000: Boltgun is a FPS set in the popular Warhammer universe. It boasts visuals inspired by classic shooters from the 1990s, with an eclectic arsenal of weapons to match. The levels are huge, the enemies are fun to mow down and the gameplay is speedy. What’s not to like? It’ll be playable on PS4 and PS5.

Now for some bad news. As new stuff comes to PS Plus, old games get shuttled to that farm upstate. Subscribers only have until May 5 to download titles like RoboCop: Rogue City and Digimon Story: Cyber Sleuth – Hacker’s Memory to their game libraries.

Spotify is getting into gameplay — kind of — through a partnership with EA Sports. The music streaming platform has teamed up with the sports video game maker to give users integrated streaming access while playing EA Sports FC 25. 

This partnership should allow players on the PS5 and Xbox Series X or S to access Spotify music, podcasts and audiobooks. The only catch? It's currently a pilot program and only available to users in Australia and Saudi Arabia. Oh and it's exclusive to Spotify Premium subscribers. 

Applicable players will see a new Spotify tab in the main menu section and can log into their accounts there. They can then access Spotify from the set-up or pause menus — so they will have to interrupt gameplay to choose a song. The latter is also where gamers can skip or pick a new track. These tracks will show up as a small icon at the top of the screen. 

Players can opt out of the game's default audio in favor of their Spotify playlist. However, Spotify cautions that "certain music" won't be available right now. 

X (formerly Twitter) has been leaning into video content more and more since Elon Musk took over. The latest shift, announced by X's engineering account, sees the platform rolling out 4K video uploads to some of its creators. 

The new video resolution should soon be available for all premium subscribers. Currently, they can share videos in 1080p that are a max of 8GB in size and about three hours in length. X has also taken steps such as creating a vertical videos feed a la TikTok and Instagram Reels. 

If you're one of the many people done with the platform — and want nothing to do with Musk — then you can delete your X account. We have a step-by-step guide on how to fully deactivate your profile and clear most of your tweets (posts?) from X. 

There’s a new animated Star Wars show coming soon and it’s set to actually premiere in the game Fortnite. Star Wars: Tales of the Underworld will be available to watch in-game starting on May 2 at 10AM ET. This is two full days before the show streams on Disney+.

Viewing will take place in a new in-game location called Star Wars Watch Party Island. Epic Games says that this area was built using Unreal Editor for Fortnite and uses official assets to create a "breathtaking environment inspired by a galaxy far, far away." Players will only have access to the first two episodes.

For the uninitiated, Star Wars: Tales of the Underworld is an anthology series consisting of animated shorts. It takes a look at the criminal underworld, centering on the bounty hunter Cad Bane and the force-sensitive assassin Asajj Ventress.

This is part of a larger collaboration between Fortnite and Star Wars. The game will receive new Star Wars content every week for use in Battle Royale. Players will be able to pilot X-wings and duke it out as Emperor Palpatine. A dark side version of Jar Jar Binks will also be a playable character.

This isn’t the first time our favorite space wizards appeared in Fortnite. The game once made Luke, Han and Leia playable characters and added the iconic lightsaber as a weapon.

There’s a new animated Star Wars show coming soon and it’s set to actually premiere in the game Fortnite. Star Wars: Tales of the Underworld will be available to watch in-game starting on May 2 at 10AM ET. This is two full days before the show streams on Disney+.

Viewing will take place in a new in-game location called Star Wars Watch Party Island. Epic Games says that this area was built using Unreal Editor for Fortnite and uses official assets to create a "breathtaking environment inspired by a galaxy far, far away." Players will only have access to the first two episodes.

For the uninitiated, Star Wars: Tales of the Underworld is an anthology series consisting of animated shorts. It takes a look at the criminal underworld, centering on the bounty hunter Cad Bane and the force-sensitive assassin Asajj Ventress.

This is part of a larger collaboration between Fortnite and Star Wars. The game will receive new Star Wars content every week for use in Battle Royale. Players will be able to pilot X-wings and duke it out as Emperor Palpatine. A dark side version of Jar Jar Binks will also be a playable character.

This isn’t the first time our favorite space wizards appeared in Fortnite. The game once made Luke, Han and Leia playable characters and added the iconic lightsaber as a weapon.

The extraction-shooter genre is getting a little more crowded and a lot more stylish with the announcement of Mycopunk, a four-player, first-person romp from indie studio Pigeons at Play and publisher Devolver Digital. Mycopunk is coming to Steam in early access this year.

Mycopunk stars four eccentric robots who’ve been hired by an intergalactic megacorporation to exterminate an invasive, violent fungus that’s taken root on a valuable planet. Each robot has a specific class and moveset, but players can use any weapon or loadout with any character — and that’s a huge benefit, because there are a ton of wacky guns, upgrades and ammo options in this game. For example, there are bouncing shotgun pellets, bullets that hover in place and then dive down when you press the trigger again, and a rocket launcher move that also makes you fly. Customization is a big part of the Mycopunk experience, and there are about 40 upgrades for every weapon, plus unique ability trees for each robot. A spatial upgrade system lets you activate abilities by placing their molecular strands on a honeycomb grid, combining effects in powerful and silly ways.

The main loop in Mycopunk involves gathering your team, setting mission modifiers, and then dropping onto a planet to kill hordes of massive, tentacled fungus monsters. With each run, you have to accomplish your corporate-directed goal, collect resources for future upgrades and generally survive the onslaught. Missions are fast-paced and the action shifts throughout, dropping new enemies, minibosses and environmental dangers until your final escape.

The hub world, where you hang out between missions, is surprisingly vast and packed with surreal touches, like a giant TV screen that only shows a sitcom about roaches. All abilities are unlocked in the hub so you can freely test out your character, plus there are vehicles to drive around, a sparring area, a recreation sphere, snack machines, and secret passageways to explore. It also has Roachard, your mission control contact who happens to be a big roach.

Devolver Digital

Visually, Pigeons at Play took inspiration from your coolest friend’s favorite comic book artist, Moebius, which lends the game a gritty, hand-drawn vibe. Mycopunk looks like a living graphic novel, blending retrofuturism with slick mechanics to create a rich, tactile experience. It specifically reminds me of Rollerdrome, a gorgeous game that I will never stop talking about.

Mycopunk started out as a senior thesis project for the Pigeons at Play crew, but it’s transformed into something much larger (kind of like a well-fed fungus). Mycopunk is charming and surprisingly deep, with dozens of cute touches that come straight from the developers’ history of playing co-op shooters together. For instance, to revive a teammate you have to literally find and reconnect two halves of their broken robot body, instead of just pressing X over their corpse in the middle of a hectic battlefield. Each character also has their own dance moves, and one of the available upgrades lets you move a swarm of bullets through the air like a murderous orchestra conductor.

A demo for Mycopunk went live on Steam today and the game is set to enter early access later in 2025.

There’s an understandable and undeniable pall hanging over The Last of Us after last week’s shocker. And it’s the calm before the storm that’ll make up the rest of the season: Ellie and Dina’s trip to Seattle to track down Joel’s killers. But amid the sadness of that loss and the frustration of Ellie not getting the support of the town in her revenge plan is the absolute delight of seeing more of Ellie and Dina together.

They were probably the highlight of the first episode — their chemistry didn’t immediately hit Joel and Ellie levels, but Bella Ramsey and Isabela Merced were doing great work together right off the bat. Here, we get to see a lot more of them together, and Dina’s combination of playfulness and planning is a solid counter to Ellie’s dry humor and impulsive nature.

A great example is their trip to Seattle on horseback, as Dina challenges Ellie to name the best band she can think of for every letter of the alphabet, something Ellie eventually has quite enough of. Dina says she can come up with another game, and Ellie immediately quips they could just travel in silence, something Dina ignores and makes Ellie tell her about the first person she had to kill. Just the kind of lighthearted road trip companion Ellie needs right now.

Photograph by Liane Hentscher/HBO

Dina is at her best in this episode when she barges in on Ellie planning for a midnight escape from the city to bring Abby to justice on her own. Earlier in the episode, the Jackson town council votes down her proposal to assemble a large crew to go after the WLF group — primarily because the town was so ravaged by the Infected horde the same day Joel was killed that they can’t spare the people. Naturally, Ellie is ready to go rogue and go on her own, but she’s not really ready. Dina shows up at her place, teases her for not planning to bring anything but guns, and lays out exactly what they need and what they don’t. Oh, and she already has it all ready to go. It’s a little too mean to say Ellie is not the brains of the operation, but she’d almost certainly be in trouble without Dina.

Beyond her practical skills, Dina flirts with Ellie constantly throughout the episode, asking Ellie to rate their kiss at the New Year’s Eve dance, teasing her about wanting to wear her Converse on a lengthy journey, whispering in Ellie’s ear that she is a badass after Ellie makes a dorky, action movie-style proclamation. But perhaps the most telling comment she makes is after they very briefly discuss that NYE kiss — Ellie says Dina was high, Dina says Ellie was drunk, and they both agree it didn’t really mean anything. They then turn off the light in their tent, and Dina can’t help but say she wasn’t that high. Ramsey and Merced’s version of “will they, won’t they” brings some much-needed levity to their situation.

Photograph by Liane Hentscher/HBO

And to be clear, levity is much needed. Even though there isn’t much real action, the fallout from Joel’s death and the Infected siege is all over this episode. It starts with Tommy slowly cleaning Joel’s body before the camera pulls out and shows a whole room of bodies covered with sheets. That’s followed by Ellie awakening in a hospital with a tube coming out of her chest; she then screams bloody murder at remembering what happened to her. That’s not to mention the sunrise visit to Joel’s grave where Ellie briefly smiles as she puts some coffee beans by his side, or her walk through his empty house where she finds his signature watch, revolver and jacket. Keep the tissues handy.

While Ramsey’s Ellie is at her best when partnered with Dina, she also does some great work on her own — the aforementioned hospital scene is chilling, but my favorite Ellie moments in this episode are when she’s trying (and failing) to convince people she’s okay. Her speech to the town assembly encouraging them to go after the WLF is not the off-the-cuff anger that Jesse encouraged her to avoid, but you can tell Ellie is just trying to placate the masses instead of saying what she really wants. The same goes for her conversation with Gail the therapist when she leaves the hospital, though Ellie doesn’t even try to hide her therapy platitudes behind a veneer of belief.

Photograph by Liane Hentscher/HBO

Oddly enough, it’s Seth (the bigot who got bowled over by Joel in episode one) who says what Ellie is really feeling, interrupting the meeting when someone objects to the plan to go to Seattle. Seth is enraged by what happened to a member of his community and thinks they should pursue justice at any cost. It’s far from the most measured take, but it certainly feels like the most honest.

Thus it’s not a huge surprise when he’s ready to help Ellie and Dina as they slip out of town, offering them a load of supplies and insisting Ellie take his better rifle. He says he’d go with them except for catching some friendly fire during the Infected battle, to which Ellie replies “are you sure it was friendly?” She’s clearly not ready to forgive him for his words, but a better gun, some supplies and a shared desire for revenge gets her close enough. She shakes his offered hand as they ride out of town.

Infected Score: 0/10

The showrunners say season two will have more Infected than season one — let’s see if they’re sticking to their word.

No Infected to be seen here, aside from some charred corpses around Jackson. That’s just fine with me after last week’s showdown.