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Forbes
2 days ago
- Entertainment
- Forbes
‘The Last Of Us' Made One Huge Mistake In Season 2, And It Creates A Major Problem For Season 3
The Last Of Us Much has been made of the casting of Ellie in HBO's adaptation of The Last Of Us. On the one hand, I agree that it's difficult to accept someone who looks as young and small as Bella Ramsey take on the role required of her in Season 2. The video game version of Ellie is, at this point, much older and tougher than she was in the first game. Ramsey looks just as young and tiny as she did in Season 1. Spoilers ahead. On the other hand, I disagree with complaints that Ramsey isn't up to the task from an acting standpoint. When she was at her best this season, she pulled off exactly the emotional range required of her, whether that was during Joel's brutal murder or in gentler moments, like the Museum flashback or her performance of A-ha's Take On Me. I'd go even further and point to Season 1, in which (for the most part) not only was Ramsey excellent throughout, the character of Ellie was presented in a way that lined up pretty perfectly with the video game character she's based on. (To those who mock Bella's appearance on social media, I have nothing but scorn and pity – bullying is for children, yet plenty of adults in this day and age have lost all semblance of decency). Season 2's Ellie fails due to the writing. Some baffling decisions were made that fundamentally alter not only her characterization and arc, but the very nature of the story itself. It appears that the writers were convinced that the game was too dark, that its tone was too bleak for audiences, and so Ellie's character was offered up as the sacrificial lamb in some very puzzling attempt to make her and the story more palatable. In doing so, the show failed at one important mission: To make us start to dislike Ellie but still root for her to succeed. What the show did instead was neuter Ellie's revenge arc, making her unlikable for all the wrong reasons. Instead of seeing her become the monster she needs to become, while still hoping that she tracks down Abby and takes her revenge, we see her as an incompetent, brash, childish character who isn't even particularly invested in revenge to begin with. It's hard to root for someone who doesn't seem to care that much about their own mission to begin with. Even before Joel's death, Ellie was presented as an obnoxious teenager rather than the more hardened version of the character she'd become over the intervening years. Perhaps hoping that more comic relief would endear us to Ellie, the show makes her a wisecracking kid most of the time. In the process, all her skills and intellect are cast aside. She's less clever and less capable than she was at 14 in Season 1. Now it is Dina who must show her the way, urge her on her path of revenge, remind her when to be quiet and what supplies to pack. Jessie chastises her for her selfishness, saves her from tight spots, and prevents her from getting them both killed when she wants to save a Scar child from a pack of Wolves. Time and again, she only narrowly escapes a situation she's put herself in or is rescued. Almost never do we see a competent, self-assured Ellie making hard choices that she has to live with. Even her moments of revenge and violence are dampened. Instead of shooting Owen and then stabbing Mel through the throat with her knife, she shoots the pair of them, killing Mel by mistake. She doesn't even use her knife on the one WLF guard she takes down, choosing to choke hold him instead of the more obvious stabbing kill. And she doesn't kill a dog, I suppose because that might make us dislike her even more. Ellie's violence is always uncertain and, other than Nora, her kills leave her shaken and upset rather than kindling her determination. Sure, we need to see how they impact her, but this version of Ellie seems only regretful and rarely driven except when the writers flip her revenge switch. It's whiplash-inducing from a character standpoint. When Dina reveals she's pregnant, Ellie makes a dad joke instead of getting angry and treating Dina and her pregnancy as a terrible inconvenience. And you might think that would make her more likeable, but instead it makes her seem wishy-washy and uncommitted. It's no wonder that Dina, when she learns of Joel's past, is upset and and shuts down, distancing herself from Ellie and telling her it's time to go home. In the game, Dina is supportive of Ellie when she learns this hard truth. Because it doesn't matter what Joel did. The only thing that matters is getting justice. But with an Ellie so devoid of her own drive and motivation, why should we expect Dina to act any other way? The Last Of Us Season 2 needed to show us the transformation of Ellie from a happy-go-lucky apocalypse survivor to a competent killer hellbent on revenge, who treats those around her as obstacles when they get in the way, and who mercilessly stalks her quarry. It needed to do that while still making us root for her to succeed, using flashbacks like the museum scene to remind us who she once was and what's been lost. Instead, she bumbles along in a half-assed revenge quest where she's neither ruthless nor competent, just another road-trip with the adults who have to protect and shield her along the way. Fundamentally, this season should have been about Ellie breaking bad. And like that show, it should have given us an Ellie more akin to Walter White than this aimless child. Walter White is exactly what I'm describing: A ruthless, competent monster who, even when he shows his true colors, the audience roots for even against our better judgment. Sure, at a certain point most Breaking Bad fans had turned on Walter, as the horrors of his vanity and ambition left too much ruin in his wake to ignore. That's exactly the path Ellie needed to go down this season (and a few more episodes could have fleshed out this spiral, though only if the writing and direction had allowed the extra space to matter). Alas, we have come to the end of Season 2 and are now poised to watch Abby's arc unfold in Season 3. It is too late to give us the story we needed for Ellie at this point, which is a terrible shame. The show has already done irrevocable damage to Abby's story as well, spelling out her motivations long before we should have known what they were. The biggest problem, however, is that Abby's arc needs to be the mirror opposite of Ellie's. While we were supposed to follow Ellie down a monstrous path, we need to then follow Abby down one of redemption. We need to see the human being behind the monster, and this needs to reflect Ellie's own arc in reverse. With Ellie's story so badly jumbled, I see no clear way the show can achieve this in Season 3. And without these two stories mirroring one another, without these two characters hurtling toward one another, effectively becoming one another, I'm not at all certain how Season 4 can achieve the emotional heights it requires. And that's to say nothing of them moving the final scene of the game up into Season 2, Episode 6. Oh well. Mistakes were made. At least we have the games. Read my Season 2 review here: What say you, dearest readers? Let me know on Twitter, Instagram, Bluesky or Facebook. Also be sure to subscribe to my YouTube channel and follow me here on this blog. Sign up for my newsletter for more reviews and commentary on entertainment and culture.
Time Magazine
3 days ago
- Entertainment
- Time Magazine
The Top 10 Music Videos of All Time According to AI
This article is published by a partner of TIME. Music videos have long been a cornerstone of pop culture, combining visual artistry with compelling music to create unforgettable experiences. Since the launch of MTV in 1981, music videos have transformed how we consume music, offering a new dimension of storytelling and performance. Some videos stand out not just for their artistry but for their cultural impact–the way they push boundaries and set trends. The best music videos elevate the songs they represent, creating a lasting impression that resonates far beyond their original release. Whether it's through groundbreaking special effects, intricate choreography, or powerful narratives, these videos have shaped the music industry and inspired countless artists. They have become cultural milestones, defining eras and sparking conversations. This list explores the top 10 music videos of all time, using research assistance from ChatGPT. These selections celebrate innovation, cultural significance, and artistic vision. Each video is accompanied by a summary and key details. 1. Michael Jackson – "Thriller" Michael Jackson's 'Thriller' revolutionized music videos with its cinematic approach, blending music, dance, and a chilling horror story. Directed by John Landis, the 14-minute video features groundbreaking choreography, special effects, and an unforgettable storyline that redefined the medium. Release Year: 1983 Director: John Landis Key Moments: The iconic zombie dance sequence, Vincent Price's narration Cultural Impact: Credited with turning music videos into a legitimate art form Awards: Won three MTV Video Music Awards Legacy: Inducted into the National Film Registry 2. Beyoncé – "Single Ladies (Put a Ring on It)" With its minimalist black-and-white aesthetic and impeccable choreography, Beyoncé's 'Single Ladies' became a cultural phenomenon. The video showcases her incredible dance skills and empowers viewers with its message of independence. Release Year: 2008 Director: Jake Nava Key Moments: The now-iconic hand gestures and dance moves Cultural Impact: Inspired countless parodies and imitations Awards: Won Video of the Year at the MTV Video Music Awards Legacy: Cemented Beyoncé's status as a global icon 3. Lady Gaga – "Bad Romance" Lady Gaga's 'Bad Romance' is a visual feast of avant-garde fashion, surreal imagery, and bold storytelling. The video pushed the boundaries of creativity, showcasing Gaga's artistry and eccentric style. Release Year: 2009 Director: Francis Lawrence Key Moments: The fiery ending scene and iconic white costume Cultural Impact: Redefined pop music videos with its bold aesthetics Awards: Won seven MTV Video Music Awards Legacy: One of the most-watched music videos of its time 4. A-ha – "Take On Me" This innovative video used rotoscoping to combine live-action and animation, creating a groundbreaking visual style. 'Take On Me' remains one of the most iconic videos of the 1980s, blending romance and artistry seamlessly. Release Year: 1985 Director: Steve Barron Key Moments: The transition between animated and live-action worlds Cultural Impact: Pioneered new visual techniques in music videos Awards: Won six MTV Video Music Awards Legacy: Frequently listed among the greatest music videos of all time 5. Queen – "Bohemian Rhapsody" One of the first conceptual music videos, 'Bohemian Rhapsody' set the standard for the genre with its operatic elements and surreal visuals. Its innovative approach helped establish the music video as a key promotional tool. 6. Madonna – "Like a Prayer" Madonna's 'Like a Prayer' tackled themes of religion and race, sparking both acclaim and controversy. Its provocative imagery and powerful narrative made it one of the most talked-about videos of the 1980s. Release Year: 1989 Director: Mary Lambert Key Moments: Madonna dancing in front of burning crosses Cultural Impact: Generated global debate and redefined artistic freedom Awards: Won the Viewer's Choice Award at the MTV Video Music Awards Legacy: A trailblazer for socially conscious music videos 7. OK Go – "Here It Goes Again" This video features a simple yet mesmerizing concept: a choreographed routine performed entirely on treadmills. Its low-budget creativity and charm captured the world's attention and made it an internet sensation. 8. Peter Gabriel – "Sledgehammer" Peter Gabriel's 'Sledgehammer' is a masterpiece of stop-motion animation and visual effects. The video's surreal imagery and playful tone made it a standout in the 1980s and a hallmark of creative experimentation. Release Year: 1986 Director: Stephen R. Johnson Key Moments: The claymation sequences and animated fruit Cultural Impact: Set a benchmark for visual creativity in music videos Awards: Won nine MTV Video Music Awards Legacy: Frequently cited as one of the greatest videos of all time 9. Childish Gambino – "This Is America" 'This Is America' is a powerful commentary on race, violence, and social issues in America. Its choreographed chaos and layered symbolism sparked widespread discussion and acclaim. 10. Björk – "All Is Full of Love" Björk's 'All Is Full of Love' is an ethereal and futuristic video featuring robotic lovers. Its minimalist aesthetic and emotional depth make it one of the most visually striking music videos ever made. Release Year: 1999 Director: Chris Cunningham Key Moments: The intimate interaction between two robots Cultural Impact: A blend of art and technology, ahead of its time Awards: Nominated for a Grammy and won multiple MTV Video Music Awards Legacy: Celebrated for its groundbreaking visuals Conclusion on Top 10 Music Videos The top 10 music videos of all time showcase the power of combining music and visual art. These videos have not only defined their respective eras but also pushed the boundaries of creativity and storytelling. Whether through technological innovation, powerful narratives, or iconic performances, these videos have left an indelible mark on the music industry. To experience the magic of these masterpieces, watch the YouTube links in this article and dive into the visual and auditory brilliance that has captivated audiences worldwide. Related Articles: About the Authors: Richard D. Harroch is a Senior Advisor to CEOs, management teams, and Boards of Directors. He is an expert on M&A, venture capital, startups, and business contracts. He was the Managing Director and Global Head of M&A at VantagePoint Capital Partners, a venture capital fund in the San Francisco area. His focus is on internet, digital media, AI and technology companies. He was the founder of several Internet companies. His articles have appeared online in Forbes, Fortune, MSN, Yahoo, Fox Business and Richard is the author of several books on startups and entrepreneurship as well as the co-author of Poker for Dummies and a Wall Street Journal-bestselling book on small business. He is the co-author of a 1,500-page book published by Bloomberg on mergers and acquisitions of privately held companies. He was also a corporate and M&A partner at the international law firm of Orrick, Herrington & Sutcliffe. He has been involved in over 200 M&A transactions and 250 startup financings. He can be reached through LinkedIn. Dominique Harroch is the Chief of Staff at She has acted as a Chief of Staff or Operations Leader for multiple companies where she leveraged her extensive experience in operations management, strategic planning, and team leadership to drive organizational success. With a background that spans over two decades in operations leadership, event planning at her own start-up and marketing at various financial and retail companies. Dominique is known for her ability to optimize processes, manage complex projects and lead high-performing teams. She holds a BA in English and Psychology from U.C. Berkeley and an MBA from the University of San Francisco. She can be reached via LinkedIn.
Buzz Feed
4 days ago
- Entertainment
- Buzz Feed
The Last Of Us Season 2 Costumes Behind The Scenes Facts Ann Foley
To celebrate The Last of Us Season 2, BuzzFeed sat down with costume designer Ann Foley to chat about creating the costumes for this season, including the subtle change to Joel's look from Season 1 to Season 2, Ellie's "Take On Me" look, Dina's iconic bracelet, dressing hordes of infected, and much more. Here's everything she revealed: First, since clothing is such an important piece of how actors get into character, Ann said she considers the cast her "closest collaborators in creating these characters." Speaking about working with Pedro Pascal specifically, Ann added, "I love that Pedro has such great insight into who Joel is, and I relied on that wonderful knowledge from him to help him create the look for Joel in Season 2." She continued, saying, "They have such a great understanding of these characters, so it's always important to me to hear what they have to say and give them a voice in the fitting room. There's always wonderful conversations to be had with the cast." One change in Joel's costume design from Season 1 to Season 2 is that he tucks his shirts in now "like a dad would." Ann explained, "When Pedro and I were doing his fittings, we talked about this subtle change, like maybe Joel's tucking his shirts in to sort of be a dad, and he's also a pillar of the community. So it's trying to be a little more respectful and dressed up a little bit more." The tucked-in shirts are also meant to mirror Tommy, who is also a dad and leader in Jackson. Ann explained, "Tommy is the pillar of the community now, and sort of in charge with Maria, and Tommy's always got his shirts tucked in." The only costume piece that carried over between Season 1 and Season 2 was Joel's signature jacket because it became so important to his character. Ann said, "We needed the audience to connect with a piece of clothing, knowing what was going to be coming up in Episode 3. So I had a conversation with Pedro about it in the fitting." Ann explained, "The jacket was really the only piece from Season 1 that made it. I felt like that was an iconic character piece to Joel, and it's something that the audience was going to remember." Speaking more about the moment in Episode 3, when Ellie finds Joel's jacket in his closet following his death, Ann said, "We needed to match that moment in the game as closely as possible. And even for people who didn't play the game, they recognized that jacket. When Ellie went and grabbed it, it broke everyone. I mean, I worked on the show, and it broke me. That's what serves the story. And at the end of the day, that's what I do as a costume designer is I have to help tell the story of what's happening." "When we saw in the script that it was going to be a jacket, we knew it had to be THAT jacket," Ann added. Episode 6, which features all the flashbacks between Joel and Ellie, was a perfect example of how costumes helped age Bella Ramsey up and down as Ellie. Ann explained, "At the beginning of that progression, you see Ellie in lighter colors and prints and baggier clothing, because we wanted to sort of show that 14-year-old silhouette in a way that helped physically." As Ellie gets older, the clothing gets shorter and more form-fitting. "Seeing that progression in one episode from Ellie as a 14-year-old turning 15-year-old teenager to a 19-year-old young woman," she continued. "So the pants are baggier, the T-shirts are longer and a little bit baggier. Then, as Ellie starts to grow up and become an adult, the jeans are a little slimmer in shape, the T-shirts are shorter in the body, even the hem on the T-shirt is a little bit shorter, and the silhouette of the shirts that she wears is also a little bit slimmer. So it's little things like that that help to show that age progression." In terms of dressing present-day Ellie, her style intentionally mirrors Joel's style in terms of the pieces of clothing she wears, but also the colors. Ann explained, "You'll see Ellie in more plaid like Joel, but also in this bluer palette, to sort of show this emotional place that they're both in that's a little bit darker. I kept that color palette for Ellie throughout the season. Very sort of blue and muted." She added, "I felt it was really important to show, like, the similarity between Joel and Ellie in their clothes and the things that they choose." Ellie and Dina's color palettes were also intentionally meant to be very different, but complement each other. Dina wears much brighter colors, which Ann describes as "more fun and effervescent and full of life," and she wears patterns, which Ellie doesn't. Ann added, "I wanted there to be a sharp contrast between the two." Ellie's signature black Converse were decorated by Bella. "I just gave Bella a pair of Converse and I said, 'I want you to doodle like Ellie would doodle in her journal, and do with these what you will,'" Ann explained. "Bella took them, and a month later, I got them back." Ann added, "When we knew it was going to be the Converse, that's when I went to Craig Mazin [the show's co-creator], and I said, 'I would really love to have some doodles on the shoes, and I would love to give a pair to Bella, see what they would do with them.' And he was also on board with that idea." And, Ann never asked Bella what any of the doodles on Ellie's Converse meant. She said, "I never even asked Bella what it meant, because I felt like it was between Bella and Ellie. Those are Ellie's doodles, and that's just one of the small details that help inform the actors as to who the character is, and maybe the audience doesn't pick it up, but Bella knew was there." She continued, saying, "I felt like it wasn't really, in a weird way, I know this is going to sound strange, but it kind of didn't feel like it was my business. It felt like as long as it was true to who Ellie was for Bella, then I was fine with it. It became something very personalized that Bella got to do with their costume." Dina teasing Ellie about her Converse was a running joke that lent itself to the practicality of getting Ellie out of those sneakers for boots, which helped Bella while they were on location, filming stunts, and more. Ann said, "Ellie's a rebel, and she doesn't care, and she's going to do whatever she wants to, and she's always going to go against the norm. So it actually works in a really cool way with her wearing them and Dina calling her out." Ann also joked, "I mean, listen, as a costume designer, when I see that in the script that Ellie is wearing Converse in the snow, I'm like, this is just me as a costume designer, I'm like, 'Really?!'" Certain outfits from The Last of Us Part II were necessary to recreate as closely as possible. One of which is Ellie's outfit when she sings "Take On Me" to Dina in Episode 4. Ann said, "I felt it was important. Craig and Neil [Druckmann, who created the games and co-created the series] felt it was important, and so did Bella." She continued, saying, "That scene is so gorgeous, and it's right out of the game. I really felt it was important to try to stay as true to not only the colors that the characters were wearing in the game, but also the silhouette. This is an iconic look for Ellie, and we want it to stay as true to that iconic look as possible." Meanwhile, the rust-colored shirt that Dina wears while in Seattle, notably in the "Take On Me" scene, is meant to be a nod to Dina's backpack color from the video game. Ann specifically took the color and put it into the shirt because it stays "true to the essence of the character." Dina's bracelet, which she gives to Ellie in the game and also in the Season 2 finale, was a collaboration between the costume and props departments. The bracelet was custom-made, based on references from the game, and then the costume team "broke it down, aged it, and made it look like it could have been a vintage piece," because they wanted the feeling that it had maybe been in Dina's family for a long time. Speaking about working with the props department on creating the iconic bracelet, Ann said, "I knew Nevin [Swain, prop master for Season 2] was a genius when it came to creating these props. So he had somebody who built the bracelet for us. I loved this bracelet. When I was starting prep on the show early, early on, I remember having a conversation with my friend's 16-year-old daughter, and she said, 'You have to promise me, Aunt Ann, that Dina's bracelet is going to make it into the show. Just please promise me.' And I was like, 'Okay, I promise it will.'"She continued, saying, "So it was really important to me to make sure I got that right for Noah because she was so passionate about it. Of course, it's a big part of the story as well, so there was no way it wasn't going to make it into the game, but the fact that Noah brought that to my attention made it even more special to me." Another costume piece that is a replica from the game is Ellie's striped shirt that she wears to the museum with Joel in Episode 6. Ann recalled, "I knew that T-shirt had to be that because that's such an important part of the game. I wanted that down to every last detail to be exactly like it was in the game. The only thing that I changed was that I changed it from a tank top to a T-shirt because I felt the tank top was too adult, and I felt the T-shirt would make her look more like a kid." She added, "My team, my breakdown team, who are all incredible artists, hand-screened the stripes onto a T-shirt." Dina's jacket was not custom-made but rather a jacket from Aviator Nation that Ann had on her mood board for Dina very early on when she started to think about costumes for Season 2. She said, "There is an air of effervescence and fun and just everything that Dina is, which is full of life, which is why I love that rainbow. Neil Druckmann was immediately drawn to it. He felt like this would be a very iconic Dina jacket, sort of like the jacket that Joel wore last season. When I put it on Isabela [Merced] in fitting, it just made sense." She said there were discussions about the fact that Aviator Nation didn't exist prior to the outbreak in The Last of Us. She said, "We discussed the fact that the Aviator Nation did not exist in our timeline. But as Craig and Neil have always said, it's all about serving the story, and what serves the story best, just like the Pearl Jam song 'Future Days.' That serves the story, doesn't matter if it was in our timeline or not. We had similar discussions about this jacket. It just felt like Dina." Ellie's green jacket that she wears in Seattle involved numerous conversations between Ann, Craig Mazin, and Ksenia Sereda, who was the director of photography for Episode 3, because Ellie needed to stand out enough but also blend in with the forest and Seattle's landscape. "We went and looked at all of these different shades of green," Ann said. She continued, saying, "We wanted to try to find that perfect green that would look great in the forest, that would separate her enough so that you can see her. But also, so she kind of blends in a little bit, because that makes sense for who Ellie is." Meanwhile, Joel, Ellie, Tommy, and Abby's parkas for Episodes 1 and 2 were all custom-made by the costume department on The Last of Us. Ann explained, "We needed so many, and there was no way that we were going to find vintage parkas with a '90s kind of vibe, in multiples of six." Joel and Ellie's parkas intentionally have "very similar style lines," with one being blue with a green tint, and the other being blue with a deep purple. Explaining how the costume department made the jackets, Ann said, "We found the fabric. We stripped the fabric, overdyed the fabric, splayed into the fabric, and then the fabric goes to the workroom. They build the shell. Then, when the shell is done, it goes back to breakdown, where they wash it down to get those really great faded edges."She continued, saying, "Then it goes back to the workroom, where it's waterproofed, and then all the other things are added, like the fake fur that we used on the hood. Then once it's built completely, it goes back into breakdown for its final aged look, where they add dirt and grime and anything else that might need to go on there to make it look 20 years old." There was also a big conversation about changing the jackets that Joel, Ellie, and others wear in the Jackson winter scenes from lightweight jackets to parkas, considering the actors were going to actually be out in the snow and needed to stay warm, etc. Ann recalled, "In the game, everybody's wearing lightweight jackets. I remember having this conversation with Ashley Swidowski, who's one of the game designers at Naughty Dog, and we talked about it, and we were like, 'This is great for the game, but not great in real life. So we're going to have to make these changes.' So everybody got parkas." Ellie's Seattle look is one of the most iconic from the game, so this costume was recreated for the show as closely as possible. The only differences in the show are that Ellie's shirt is a chambray fabric instead of denim because it has a better "drape" on camera, and she wears a short-sleeved T-shirt instead of a tank top. Ann elaborated, saying, "We chose to go with a T-shirt here, just for practical reasons on set and for everything that was happening. Those were also larger conversations that we all had about, okay, this is what it was in the game, but we might need to shift it a little bit just because of weather, locations, the practicality, what we happen to be shooting. But still trying to stay true to the essence of the original look in the game." When Jesse rescues Ellie and Dina in Seattle in Episode 5, his costume was intentionally created to mirror Joel's because Ellie is meant to think in that moment that maybe Joel came to save her. So, Jesse is wearing a plaid shirt that's tucked in, and his tape on his boots matches the tape on Joel's boots in Season 1. Ann explained, "I believe in the script, it even said as a note in there, 'When Ellie is trying to focus on who just came in, she thinks for a moment that that's Joel.' So we went down to even the tape on his boots, similar to the tape that Joel had on his boots in Season 1. Jesse had on a plaid shirt, and it was tucked in like Joel would tuck his shirts in. So it's little subtle, Easter eggs like that that trick the audience a little bit into going, Oh, my god. Could that be Joel? That was the point, wanting the audience to have the same reaction that Ellie is having." In Episode 2, in order to have Tommy stand out against the horde of infected infiltrating Jackson, he's the only person wearing a red jacket. "I wanted the audience to be able to track Tommy in all the chaos. So none of the infected, nobody else really has red on them in a significant way. It's just Tommy so that Maria can spot him from the rooftop and see him down there on the street, but so can the audience," Ann said. The color red for Tommy also carries through in his Seattle look, which we see in the Season 2 finale. Ann explained, "I wanted to follow through with that color palette, but it's a little bit darker for Seattle, and keep him in that red. So we found this really great wax canvas that we broke down that had a deep burgundy color to it, and then made this wonderful jacket that had a leather collar. So it's kind of waterproof, but it still stays true to his color palette that we sort of set at the beginning. Again, it was custom-made for him, and I loved this follow-through of his winter jacket had red in it, and I wanted the Seattle jacket to have red in it." Every infected extra comes in for a costume fitting, and they are all given different looks in order to give these characters a little bit of backstory. "We had one guy in a Seattle Loggers sweatshirt and a Clicker wearing this really great rocker band T-shirt with a striped shirt over it. It looks like the grunge from the late '90s. Maybe that's who this guy was when he got bit," Ann recalled. She explained, "Every single one of them has a different look to them, because it was important to give them a little backstory of who this person was before they got bitten. So you're gonna see a lot more color and texture in them. These were people before they got bitten. So we wanted to show that but specifically for Jackson." For Episode 2, the costume department did "close to 600 fittings" between the infected, the stunt team, and the citizens of Jackson. The horde in Jackson was given a lot more color so they could stand out against the snow, as opposed to the horde in the subway in Jackson, who are in a different, wetter environment. She continued, saying, "We needed them to stand out from the snow, so there is a lot more color and a lot more texture, so that they don't just disappear into the blizzard, and you do see them stand out a little bit more. But in Seattle, we're in a different environment as well." The costume department also worked closely with prosthetic designer Barrie Gower and his team. All of the cordyceps you see on the clothing were handmade by Barrie and his team. In fact, the color of the cordyceps even changes between Jackson and Seattle. Ann explained, "Barrie and his team are absolutely brilliant, and they create all of those cordyceps pieces for us that go into the clothes. Their shop was right next door to our shop, so there was a lot of conversation and a lot of working together to try to make all that happen and make it as seamless as possible."She continued, saying, "The color of the cordyceps changed a little bit from the cordyceps in the snow in Jackson. Also, it's a lot wetter in Seattle, so that part was really interesting as well. Like doing that integration of the cordyceps into the clothes, and seeing the cordyceps break down the weave of the cloth in the clothing." And finally, one of the best examples of the prosthetic and costume departments working so closely was in Episode 5, when Ellie chases Nora into the basement of the hospital, and we see the cordyceps and spores room with the infected W.L.F. soldiers trapped. Ann explained, "My team worked so closely with Barrie Gower and Paul Spateri, who ran the department for Barrie, in incorporating and helping them to get the costumes built directly into the set." "That was one of my favorite moments of the season, I think," Ann began. "It was stunningly beautiful. The workmanship and the craftsmanship that went into that were absolutely next level." What did you think of The Last of Us Season 2? Tell us everything in the comments below!
Edinburgh Live
18-05-2025
- Entertainment
- Edinburgh Live
BGT star says 'it becomes mental torture' as he calls for U-turn on 'unfair' part of show
Our community members are treated to special offers, promotions and adverts from us and our partners. You can check out at any time. More info Britain's Got Talent's first ever winner, Paul Potts, wants to see the back of red buzzers being used during the show's live performances. Last week, musician RuMac didn't get the reaction he hoped for during his semi-final performance, after previously impressing judges with his rendition of Yes Sir, I Can Boogie. Alesha Dixon, Amanda Holden, and Bruno Tonioli all pressed their red buzzers, as he performed his version of A-ha's Take On Me. The 32-year-old managed to finish his performance, thanks to head judge Simon Cowell, who said he "loved it". Sharing his thoughts on red buzzers being used during live shows, Paul, who won the show in 2007, believes it's time for producers to have a rethink. Speaking in association with Sky Vegas, he argued: "There shouldn't be any red buzzers at this stage of the competition. "We should be focusing on the positives and celebrating the talent that's made it this far." He went on to question: "The golden buzzer is a great idea for highlighting standout acts – but the red buzzers? "If we've chosen the finalists based on their ability, there really shouldn't be a need for them. "And if there is a need for red buzzers in the live shows, then it raises the question, why are those acts in the final to begin with?". The 54-year-old added: "There's a risk that if you include acts just for comedy or shock value, and then use the buzzers on them, it becomes mental torture – that's not fair. "If something genuinely falls flat, the voting audience will make that clear without the need for red crosses. So, in my view, they're unnecessary at this stage." Although RuMac didn't impress three of the judges, all four ended up giving him a standing ovation at the end. Sharing his thoughts, Simon said "I think you and your agent are going to get a billion phone calls tomorrow for New Year's Eve to book you, because that is exactly the type of performance people love at a party. (Image: ITV) "I'm not a huge fan of that instrument, however, you played it really well and I loved it." Reflecting on the judges' use of buzzers during the performance, Simon continued: "When they buzzed you, you just got faster and faster. "Most people's heads would go down, but you just went for it. You did great." Alesha added: "In the history of being on this show, that's the first time I have given someone a red buzzer and a standing ovation at the same time." Despite earning applause from the audience, RuMac's journey on the show came to an end when he secured sixth place in the public vote. (Image: ITV) Dance group Ping Pong Pang were the winners of the night after receiving the highest public vote, while singer Jasmine Rice was awarded Bruno's golden buzzer. These two acts will now compete for the overall win in the final, alongside Stacey Leadbeater, Vinnie McKee, Olly Pearson and The Blackouts, as well as the next two winners of tonight's semi-final. Britain's Got Talent continues tonight at 7pm on ITV and ITVX.
Press and Journal
11-05-2025
- Entertainment
- Press and Journal
Ullapool musician's Britain's Got Talent journey ends after semi-final public vote
Ullapool musician RuMac's Britain's Got Talent journey has come to an end after he was voted off in last night's semi-final. The 32-year-old Wester Ross accordion player, whose real name is Ruairidh MacLean, failed to win over the public in a live vote. He previously wowed the judges on the first episode of the new series of the ITV show with his rendition of Yes Sir, I Can Boogie. And while his version of Take On Me by A-ha had the live audience on their feet dancing and singing along on Saturday night, the BGT judges were not impressed. Alesha Dixon, Amanda Holden and Bruno Tonioli pressed their buzzers halfway through the show in an attempt to take him off stage – to which RuMac quipped: 'I knew this would happen.' Fourth judge Simon Cowell stayed his hand for the entire show, however. But, Maclean looked to have won over the judging panel with even those who had previously buzzed up on their feet clapping to the beat by the end of the song. The judges then appraised his performance afterwards. Cowell said: 'I didn't buzz because he got through the first round, which means he must have had three or more yes votes. 'That was better I think than your first audition. 'I think you and your agent are going to get a billion phone calls tomorrow for New Year's Eve to book you because that is exactly the type of performance people love at a party. 'I'm not a huge fan of that instrument, however, you played it really well and I loved it. 'When they buzzed you, you just got faster and faster. 'Most people's heads would go down, but you just went for it. 'You did great.' However, other judges were not so complimentary. Bruno Tonioli said the performance 'gave him a hangover.' Tonioli said: 'I feel like I am having a hangover and need an aspirin.' 'But I'm telling you, definitely, definitely, insanely funny.' Dixon added: 'In the history of being on this show, that's the first time I have given someone a red buzzer and a standing ovation at the same time.' 'Which kind of sums up how I felt about this act. 'I did tell you that I don't like the accordion, but I have to say you made that so much fun, it was so crazy, it was good!' 'It was terrible and brilliant all at the same time.' RuMac was then unfortunately voted off, finishing in 6th place at the end of the show. Progressing from tonight's semi-final was operatic singer and drag queen Jasmine Rice, who got the golden buzzer from Bruno Tonioli. Meanwhile, groups Ping Ping Pang and The Blackouts went through alongside singers Vinnie McKee and Stacey Leadbitter and 11-year-old guitarist Olly Pearson.
