We have bid a tearful farewell to The Good Place, NBC's hilariously inventive, yet thoughtful, take on the afterlife. The show delivered rich characters and plenty of laughs, but it also challenged us to ponder deeper questions of what it really means to be a good person. Consistently intelligent and insightful, particularly about human foibles, each season held enough surprising turns and unexpected twists to keep a typical sitcom running for twice as many seasons. But The Good Place was never a typical sitcom. I'm pleased to report that in the series finale, the writers didn't blink while grappling with (among other things) the troubling implications of an infinite afterlife for finite humans.

S2 ended with another radical reset: Judge Gen (Maya Rudolph) gives the Soul Squad one more chance to become better people on Earth. It was a bold move, since Earth just isn't as interesting as the crazy surreal illogic of the show's brilliant conception of the afterlife. But S3 soon hit its stride. Among the standout moments: Michael's mind-bending mini-tutorial about how time works in the afterlife. Time isn't linear. It "doubles back and loops around," and the resulting timeline just happens to look like the signature of the name Jeremy Bearimy. (The dot over the "i" is Tuesdays. And also July. And occasionally never.)


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S4 brought everyone back to the afterlife, with all the cheesy puns and comic absurdity that comes with that goofy eternal realm. For instance, there's a magical game of Pictionary in which the drawn images come to life. It ends in utter chaos, thanks to a terrifying mutation produced by Chidi's crude drawing of a horse.

Those reboots were the key. Maybe all human beings need is more time to learn from their mistakes. In the new afterlife, all humans will have the chance to be rebooted, as many times as necessary, until they show enough improvement to earn admission to The Good Place. Bad Place and Good Place architects will collaborate on designing custom scenarios to challenge (or "torture," from the demons' perspective) each person. Shawn reluctantly agrees, and the judge approves the new system.

This was my favorite twist of all, because let's face it: perfection is boring. It's why Dante's Inferno is far more powerful (and more widely read) than his Paradisio. It's why the first version of The Matrix failed to keep humans lost in the fantasy world; their minds couldn't accept a construct of a perfect world. Perfection for infinity proves unbearable: there's only so many times you can fulfill all your deepest desires before it just becomes run-of-the-mill. Heck, one reason Shawn agreed to Michael's original concept, and the new afterlife, was because he was bored with the usual torture. After your umpteenth penis-flattening, the joy really fades, even for a Bad Place demon.

And that is the solution to the Good Place dilemma. Michael announces that he has created one last door. Anyone in the Good Place, when they feel they are ready, can simply walk through it and end their afterlife. Maybe. What happens beyond the door remains an unknowable mystery, much like that faced by humans on Earth pondering what happens after you die. It's the fact that life ends, and we don't know what comes next, that gives our lives purpose and meaning. It's why our actions, relationships, and so forth matter so much. The episode closes with Eleanor and Chidi snuggling on the couch, watching a perfect sunset.

A cocky tech-bro discovers that living forever in a digital afterlife isn't quite the paradise he'd envisioned in Upload, a new comedy series from Amazon Prime Video. When the trailer first dropped in March, I pointed out the strong The Good Place vibes, which set a very high bar for any new comedy dealing with the afterlife. Fortunately, Upload is a sheer delight in its own right: smart, funny, warm-hearted, and perfectly paced, trading in The Good Place's witty takes on moral philosophy for more of an emphasis on class-based social hierarchies.

Robbie Amell (Code 8) plays Nathan, who is on the verge of closing a huge business deal with his friend and business partner, Jamie (Jordan Johnson-Hinds, Blindspot). But then his self-driving car malfunctions and crashes, landing Nathan on a hospital gurney, in critical condition. His wealthy girlfriend Ingrid (Allegra Edwards, Briarpatch) urges him to take the "upload" option over surgery. "We could be together forever!" she enthuses. Nathan is less keen: "Forever is just soooo long." But he ends up taking the upload anyway and wakes up in a virtual apartment. "This is the first day of the rest of your afterlife," Nora (Andy Allo, Chicago Fire) calmly assures him.

There are myriad advantages to a digital afterlife, Nathan discovers, like being able to change the weather and associated landscape outside one's window just by turning a knob. He feels freer to make some daring virtual fashion choices, with Ingrid's input. He even manages to make a couple of unlikely friends: Dylan (Rhys Slack, Legends of Tomorrow), who died when he was on the verge of puberty and whose family refuses to upgrade his avatar to an adult body; and Luke (Kevin Bigley, Sirens), a veteran who is having some trouble adjusting to his digital afterlife.

Meanwhile, the digital afterlife was designed to look almost hyper-real, with a touch of the "uncanny valley" effect so viewers have the sense that things are just a little bit off. "When we're in the 'real world,' there's more handheld [camerawork], and when we moved into the digital world, we went with slow-moving shots, pans, and tilts," said Krasser. "Greg wanted to establish the idea that the real world now was a dirty, gritty place, whereas the afterlife was a beautiful place where things are clean, crisp, and worry-free." One running joke is that several elderly female Lakeview residents requested avatars based on how they looked in their youth. So their avatars are rendered in black and white, which required a great deal of rotoscoping on the part of the animators.

In a later episode, there's a scene where the digital afterlife's server degrades to the point where all the Lakeview residents are rendered in 1980s-style computer graphics. (Krasser said he was particularly inspired by the music video for Dire Straits' "Money for Nothing.") "We could have just gone with de-rezzing, where everything is all pixellated, but where's the humor in that?" he said. Instead, he opted for simplified caricatures of the actors, basing the animations on the actors' movements and reactions (without resorting to motion capture).

After a dream vision of visiting his friend in the Great Beyond, Martini went on a literary quest to find out what the prevailing science and philosophical opinions on the Afterlife are. He journeyed into Tibetan Philosophy, made documentaries in Tibet and India, and eventually was introduced to the work of the Newton Institute, founded by renowned author and hypnotherapist Dr. Michael Newton (Journey of Souls). The new book includes interviews with post materialist scientists Gary Schwartz, Bruce Greyson, Mario Beauregard and examines a number of NDE's and LBLs that have remarkably similar stories about the afterlife.

The central relationship takes place against a self-consciously eccentric backdrop that fairly cries out to be adored for its "madcap" qualities, if only the sense of strain were less apparent. The wonderful Sally Hawkins (Happy-Go-Lucky) is on hand playing the lippy-dippy Linda, a friend of Roopi's who for some reason morphs into Stephen King's murderous Carrie, and Zoe Wanamaker appears in a white wig cracking Willesden jokes until her actions, too, land her among the walking, waking dead.

But the spirits of the victims come back to haunt the old lady, and won't give her peace until their souls are released into the afterlife. Only Mrs Sethi can see these apparitions, leading to some rather humourous scenes, the finest in the movie, strengthened by Shabana's fine acting. be457b7860

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