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Maeve sees all of us. But does anyone see her? Maeve the lamppost was played by Maeve Higgins. Her new book of essays is "Maeve in America." You can find out more about Maeve and all the great things she does right here.

Tara may be just a sliver now, but she's got a lot of fight left. Tara the bar of soap was played by Tara Clancy. Tara's book is The Clancys of Queens, and you can find more from Tara on her website and twitter.

Download Mirror Max Jos Can Play 2 Episode 2

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Ayo has reached great heights, but she would like to come back down.

Ayo the balloon was played by Ayo Edebiri. Among other things, you can see her co-hosting In Bad Taste at Vital Joint in Brooklyn, New York.

Louise, the oxford shirt, is played by Alexandra Dickson. William, the leather pants, is played by Connor Ratliff. Connor's brilliant podcast investigating why Tom Hanks fired him is called Dead Eyes.

Everything is Alive is an interview show in which all the subjects are inanimate objects. In each episode, a different thing tells us its life story--and everything it says is true. A proud member of Radiotopia from PRX.

The Black Mirror "Playtest" episode is one of the most heartbreaking ever, but its final kicker didn't originate in the mind of creator Charlie Brooker. Black Mirror is an anthology series that explores the dark possibilities of where technology is heading. However, though the show looks into the future with its storytelling, some of its inspiration comes from the real world. The "Playtest" Black Mirror ending is certainly devastating but the origins of where the story comes from are likely funnier than any viewers could have expected. Black Mirror season 6 dropped a new batch of episodes in the popular anthology story, but "Playtest" still stands out as one of the most emotionally impactful ones.

The episode follows an American abroad named Cooper (Wyatt Russell) who decides to partake in an experiment that will have him testing out an immersive augmented reality video game. The game specifically targets the player's unique fears, causing a hyperrealistic immersive therapy situation. After seeming to escape the nightmare, he returns home to his mother who calls his cell phone only to reveal Cooper is still inside the game and the phone call in real life shorted his VR connection, killing him. Fans can thank writer Mallory Ortberg for that idea that made it into the "Playtest" Black Mirror episode.

If Cooper had been an unlikable character, the ending would have come off more like someone learning a lesson at the cost of their life. Instead, the audience is rooting for Cooper to get out of this nightmare scenario only to be devastated to learn his entire struggle has been in vain. However, Russell has a darker reading of the ending and suggests that, even after the Black Mirror "Playtest" episode ends, Cooper's torment is not over. Russell explains that "I viewed it that he was trapped in this world of hell, but everyone else on the outside of the world thought he was dead."

**Edited to Add** Will be updating with more bts pics from this episode as soon as I can figure out what their childhood trauma is. They absolutely will not post for me at the moment. Watch this space and check back!

Arriving some four months after October's first installment of Telltale's adventurish adaptation of fairy tales in the real world comic Fables, Smoke & Mirrors sees protagonist Bigby Wolf continue to investigate a series of murders. Given the cliffhanger ending of episode 2, you'll forgive me if I'm plot-light in the below. I.e. no spoilers, but it does presume you're fairly familiar with the game already.

Four months of waiting, for around 60-90 minutes of game (even less, if you're a dialogue-skipping hurry-pants). Whatever the reason, it's a big dent in Telltale's recently-skyrocketed reputation, and one that makes it significantly harder to keep faith in the oft-broken promise of episodic gaming. I'm invested in Wolf Among Us' story, some of its characters and especially its neon-brooding mood, but it's only reviewer's duty that keeps me from deciding to wait until the whole lot's released rather than play episode by episode.

The wait was too long, for too little, though Smoke & Mirrors' tone and characterisation does at least remind me why I cared in the first place. But its inevitable cliffhanger fails where the first episode's succeeded, because this time around I feel like I'm being baited. (Also I'd already second-guessed it, but that's because I make a habit of striving to do so rather than that it's screamingly obvious. Never, ever watch a detective series in my company, I'll drive you spare). It is so much harder to care, and no longer natural to feel that nagging need to know, when one is aware that answers may not be forthcoming for months and that you're simply at the whims of someone's misjudged schedule. If I want to pay another visit to the narrative Skinner box, there are any number of reliably monthly comics or weekly TV serials to turn my attention to instead. My point being that a schedule is coal to this kind of fiction's engine, and not a matter of angry internet people acting over-entitled.

Perhaps Episode 2's brevity reflects Telltale trying to get back on track, to get something out ASAP now whatever caused the delay has perhaps passed, in order that a regular schedule can be maintained. That helps, especially if it means episodes 3 and onwards aren't quite so slight, but it still feels faintly insulting. I say that not purely from entitled grumpiness about the delay and the short running time, but also because Smoke & Mirrors is a lesser adventure game than the preceding episode. While the latter-day Telltale formula, with its focus on choosing dialogue options and navigating quicktime events, has long invited justified debate about interactivity and style over substance, this is even more of a reduction to barebones.

Despite nominally being in charge of the investigation into the murder of multiple Fables, you're a complete passenger here, ferried without warning from location to location (six in total, three of which allow no movement whatsoever, two of which are recycled wholesale from episode one and only two of which consist of more than a single room) and repeatedly forced to end investigative lines moments after they've begun. Every event is distractingly brief, and every scene feels like ticking a few boxes rather than exploring or deducing. It has the manner of a game in a dreadful hurry, which creates an internal tension with the sombre, brooding mood. And while there are several, enjoyable opportunities to roleplay either Jekyll or Hyde, with likely supporting cast consequences further down the line, there is strong sense that the plot is railroading the player, playing anxiously for time until the next big pre-ordained revelation.

In context as part of a complete series - presuming later episodes are longer and involve a little more activity - I don't expect Episode 2 to be too much of a problem. If we regard Wolf Among Us as police procedural - The Bridge with wolfmen and flying monkeys, say - then this is the necessary early-series episode that moves the detectives from identifying victims and on to establishing suspects. If it follows procedural procedure, next we'll find out the colour of its various herrings. What's included here is a necessary pivot point for such genre fiction, and as part of a complete package the Is This It? issue will hopefully go away.

Unless the following three episodes have the same problem, of course - there is a great danger that Wolf Among Us becomes far more about simply sticking with it for answers rather than because you're able to meaningfully alter the course of events. While the police procedural's quest for a fixed answer is innately a different formula to the Anyone Could Die Any Time ethos of survival fare such as The Walking Dead, there's little that feels urgent here, and the sole scene that offers scope for any true deduction comes off so patronising that I wondered if the incorrect dialogue options only existed in order that one can elect to roleplay as a witless cretin if one so desired.

Length and simplicity grumbles aside, broadly we're looking at a very similar offering to episode 1. You pursue leads, interview uncooperative witnesses by means fair or foul, and get repeatedly told that everyone thinks you're a right prick (even if, like me, you've repeatedly demonstrated that you're as much of a teddy bear as a chainsmoking part-lupine sheriff who's surrounded by unrepentant arseholes could possibly be). Y'know: Chandler with magic and gore. And quick-time events, though there are fewer of those this time, unless you count the conversational time-limit. Bigby remains an appealing player-character, all barely-concealed aggression when he's being nice and feral brutality when he's not, and aside from the occasional still-atrocious attempt at cockney accents, it has assured vocal performances backed by characterful animations and an appropriately menacing soundtrack, while most of all intrigue seeps from its every pore. I want to be here: but I want more than simply being shown it.

I'm frustrated because I really like it, by which I mean the series (so far) as a whole rather than episode 2 specifically. It gives excellent tone, the writing's sharp and generally finds a comfortable half-way house between noir stereotype and distinctive unusualness, and there's just enough hinted at to allow the inquiring mind to start forming whodunnit theories. I want to see it soar with what it's built up, not withdraw into a safe and hurried shell because - wild speculation warning - there are bigger fish in the Telltale popculture licenses net now. Wolf Among Us is too intriguing and too atmospheric to deserve such perfunctory treatment, and I sincerely hope this is just a one-off wobble.

It's not just coincidence. In a 2018 interview with The Wrap, Brooker said the song was originally picked for "Fifteen Million Merits" because "it has the sound of a timeless haunting classic, yet wouldn't be familiar to most viewers." Co-showrunner Annabel Jones explained that its frequent use after that was Brooker's way "of nesting all the episodes together in an artistic universe of sorts." Jones also confirmed that the song is really just "an Easter egg." ff782bc1db