Light spoilers follow for all six episodes of A Knight of the Seven Kingdoms.

HBO's Game of Thrones (GoT) franchise could use a boost right now. The eponymous show's incredibly divisive finale is still being discussed to this day, and while House of the Dragon's (HotD) first season repaired some of the damage its forebear's last-ever episode caused, its most recent eight-part installment was similarly not without criticism for narratively spinning its wheels.

The hope, then, is that A Knight of the Seven Kingdoms (AKotSK) will course-correct HBO's Thrones-Verse once more – and it does. It may lack Thrones' apocalyptic stakes and the ongoing fiery family feud that permeates HotD, but HBO's latest retelling of another George R.R. Martin book series more than makes up for it with a rib-tickling, haunting, and triumphant tale of beating the odds.

A knight's tale

Based on The Hedge Knight, the first entry in Martin's 'Dunk and Egg' novella trilogy, and set a century before Game of Thrones, AKotSK tells the story of Ser Duncan the Tall (Peter Claffey) – or, to use his less formal moniker, Dunk.

After burying his deceased mentor and hedge knight – the term used for a wandering, chivalrous sword-for-hire – Ser Arlan of Pennytree (Danny Webb), Dunk travels to Ashford Meadow to try and win its latest tourney and prove his worth as a noble warrior. There, he encounters Egg (Dexter Sol Ansell), an unruly but intelligent boy who implores Dunk to let Egg be his squire. Thus begins a fellowship that, unbeknownst to the pair, will forever etch their names into Westeros' history.

AKotSK's premise – one that positions it as a dirt-covered folktale (think of street-level scenes from GoT and HotD, and you'll get the idea) – sets it out as an unusually intimate story compared to its more illustrious and narratively epic siblings, but that's intentional.

It doesn't possess the multi-House fight for The Iron Throne or the grimdark, apocalyptic events of Game of Thrones, nor does it come close to matching the destructive intrafamilial warfare on display in House of the Dragon. And, sure, high-ranking clans – the Targaryens and Barathons being the most noteworthy – feature throughout AKotSK, so characters from privileged backgrounds have increasingly prominent parts to play in the HBO Max TV Original.

Nonetheless, even with its more introspective, grounded narrative, AKotSK is no less dramatic, action-oriented, tragic, or amusing than its larger-scale brethren. In fact, where the last of those descriptors are concerned, it's no contest that AKotSK is the funniest live-action adaptation of Martin's literary works so far.

Whether it's slapstick moments, black comedy, toilet humor, fish-out-of-water moments involving Dunk, or the clever use of smash cuts and cutaway shots in present-day and flashback sequences, A Knight of the Seven Kingdoms isn't averse to dialing up the amusement when required.

The jokes are never overused and don't outstay their welcome, either. Instead, they enliven and brighten proceedings, especially in early episodes as Dunk navigates socially awkward interactions, and they allow AKotSK to strike a more optimistic, lighter note than HBO's other Thrones interpretations.

As I alluded to earlier, that's not to say that AKotSK eschews what's made previous Game of Thrones adaptations so absorbing.

Amid the whimsy and hilarity, an underlying tension is always gently simmering in the background, but only threatens to boil over from the high-fantasy drama's midpoint. Here, AKotSK takes a sobering, emotionally-strung turn that not only significantly raises the stakes for Dunk, but also douses the series in a tragic light, with multiple tear-jerking moments that hit me hard despite the limited time I'd spent with its supporting cast. If it's adrenaline-fueled action, suspense-filled spectacle, and moving melodrama you're after, episodes 4 through 6 deliver the goods in spades.

Hedge your bets

Before those episodes arrive, A Knight of the Seven Kingdoms relies on the endearing, odd-couple partnership between its protagonists to drive its comedy-drama-based story forward.

At times akin to a two-hander, AKotSK wastes no time introducing its protagonists to each other – the pair crossing paths less than 10 minutes into its premiere. In doing so, it dispenses with the sluggish, exposition-filled opening that some viewers might deem necessary for a series that's not only set in a new period of the Thrones timeline, but also introduces numerous new characters to those who haven't read Martin's literary works.

It's clear from Dunk and Egg's first encounter, though, that Claffey and Ansell have great chemistry and rapport. Highlighting this efficacious, buddy cop-like relationship as early as possible gives us a charming albeit at times testy friendship to invest in and rally around as the show unspools its secrets and other shock-value moments.

Ansell is as paramount to the successful portrayal of Dunk and Egg's dynamic in a live-action capacity as his senior scene-partner. Indeed, with a performance and acting capabilities that belie his tender years, Ansell faithfully captures Egg's boisterousness, foolhardiness, cleverness, and impunity with ease.

It's Claffey, though, who truly steals the show as AKotSK's naive yet chivalrous loner.

An unassuming hero despite his evident stature, Dunk is a righteous man in a not-so-righteous world whose worldview is constantly tested by external forces. Initially ostracized by those at the Ashford Meadow tourney and plagued by bouts of impostor syndrome throughout, he's a seemingly oafish individual whose imposing frame hides a deep vulnerability that Claffey inhabits with real poise and emotional precision.

It's a towering performance in every sense of the word and, while I know fans will get a kick out of his portrayal from the outset, I can already see the superlatives that'll be thrown Claffey's way after his bellowing, scene-jolting speech in episode 4's final minutes, and tear-jerking moments in AKotSK's final two chapters.

It would be remiss of me not to spotlight members of the supporting cast, too. Daniel Ing's Lyonel Baratheon steals every scene he's in, while Finn Bennett's Aerion Targaryen is a pantomime villain of menacing proportions. Bertie Clavell's Baelor Targaryen, Sam Spruell's Maekar Targaryen, and Shaun Thomas' Raymun Fossoway are also captivating presences whenever they appear.

If I have one major gripe about A Knight of the Seven Kingdoms, I wish more time had been spent building out certain character arcs and relationships. Great though it is, not enough screentime is devoted to Dunk and Egg's bond. I'd similarly point the finger at some of its eclectic supporting cast of characters, too, all of whom operate on Dunk's orbit but, where some individuals are concerned, are given short shrift from a character development perspective.

At 30 to 40 minutes per episode, AKotSK's short runtimes – compared to GoT and HotD – might make its week-to-week release model unbearable and/or draw complaints from viewers who may feel short-changed by their brevity.

However, I didn't mind the pace at which its plot progressed, nor did each episode's length feel curt in conjunction with the short story that The Hedge Knight tells. In fact, I'd say the addition of original storytelling components actually increases the duration of certain chapters, and – whisper it so book purists can't hear me say this – bolster its narrative.

My verdict

A Knight of the Seven Kingdoms is a undeniably triumphant underdog tale. What begins as an unsuspecting story about two misfits fated to find each other soon evolves into a rip-roaring crowd-pleaser that'll have you running the emotional gamut, particularly in its latter half.

Okay, its primary theme – that being how friendship and co-operation trumps all – is clichéd. Nevertheless, given the fractured state of our own world, in which division runs riot across the sociopolitical spectrum, it's a timely message to heed.

With HBO recently announcing that AKotSK will return for a second season, we'll witness more of Dunk's rags-to-riches story down the road. And frankly, if it's as good as AKotSK's debut outing, I'll watch everything the Game of Thrones prequel's lovable underdogs get up to on their history-defining adventures.

A Knight of the Seven Kingdoms premieres on Sunday, January 18 (North and South America) and Monday, January 19 (everywhere else). Learn more about it ahead of launch via my guide to A Knight of the Seven Kingdoms.

Let's be honest – there was every chance that the surprise HBO Max smash hit The Pitt was a one-off. Following the singular shift in a Pittsburgh emergency room across an entire series, season 1 was a breath of fresh air, and an incredibly urgent one at that. But by blending its winning formula with new dynamic elements, The Pitt season 2 is just as strong... and perhaps even better.

We're picking up 10 months after the events of season 1, with our unhinged day shift staff taking over for the Fourth of July weekend. Lead Dr. Robby (Noah Wyle) is a lot more grounded than his emotional breakdown in season 1, planning to leave for a three-month sabbatical after the holiday shift is over.

Unluckily for him, his substitute attending doctor has turned up early, intent on following him on his rounds and implementing her own changes along the way. Without giving anything away, Dr. Baran Al-Hashimi (Sepideh Moafi) is one to watch, assimilating into the main cast as a devilish A-type yin to Robby's laid-back and approachable yang.

We've also got the return of Langdon (Patrick Ball), who was put on temporary suspension in season 1 after stealing patient drugs to satiate his hidden addiction. As for everyone else... well, they're being thrown from the fire into the metaphorical frying pan.

In essence, The Pitt season 2 is following exactly the same structure as season 1, and without context, that should be a lazy and monotonous decision. But the ER is an abyss of unknown complications, and that's exactly why the HBO show only gets bigger and better.

The Pitt season 2 will be the jewel in the crown of 2026 television

As we learned in season 1, The Pitt has its narrative basics nailed down pat. Our ensemble cast is a smorgasbord of chaos, scattered across wards like worker ants bowing down to their Queen (or in this case, King). Dr. Al-Hashimi's presence immediately has them all on edge, proving that the minute you think you're comfortable, you really have no idea what's going on.

The core concept of each episode covering an hour of the same shift still feels fresh, and with so much going on at any given time, you'd be hard-pressed not to be completely absorbed. What I particularly admire is how much our day players – and by that, I'm referring to the characters we see wheeled in and out of the ER in a single episode – feel just as integral and important as the main cast. It's a testament to the exceptional craft that nobody feels like a spare part, with the overall editorial feel a world away from the sensationalized storylines of Grey's Anatomy.

Where the latter has strayed into engineered shock factor over the years (we've all seen the TikTok clips of patients with something weird stuck up their butts or manipulative parents holding their child hostage), The Pitt's core focus is its staff. The ever-changing dynamics between the characters is of the utmost importance, and whenever a new patient is introduced, we're seeing them through their doctors' eyes (and their personal struggles).

Langdon is a great example of this. His first day back at work is met with quiet hostility, taking it upon himself to apologies to the patient he stole medicine from. In that moment, the two are equal, though the patient is framed through Langdon's lack of responsibility. We feel we know them both on an intimately deep level, and neither is merely defined by their relationship roles.

In truth, there isn't a single individual storyline that doesn't feel intriguing. Dana (Katherine LaNasa) has returned to work after threatening to quit at the end of season 1, Mel (Taylor Dearden) faces a deposition and Whitaker (Gerran Howell) has quietly worked up the ranks and now assumes more of the shared workload. Season 1 laid the groundwork for us to fully invest in them, and season 2 is letting them freely flourish or fail.

Life-or-death challenges are on par with the first season

While watching season 1, I didn't think anything could top the sudden introduction of a school shooting in episode 12. But once again, The Pitt season has kept me on my toes. There's no spoilers here, but the new series takes the same energy and splits it into two separate strands, providing shrewd social commentary from multiple perspectives.

The tension never drops, and the level of concentration needed to keep up with all the moving parts means minimal distractions (so no scrolling on your phone at the same time). I've never once been interested in working as a doctor, but week-after-week, I know the jargon and could put voluntary hospital work on my CV.

Here's the one and only kicker: as lucky as I've been to access The Pitt season 2 early, I (and my fellow press) have only seen nine out of 15 episodes. We're left on a life-threatening cliffhanger, and in full transparency, we've got no idea if the new season sticks the ending.

The Fourth of July weekend was a genius choice to naturally up the stakes, and that means dramatic intensity is a given. The first nine episodes throw both us and its cast into the deep end, but as the day draws on, who knows what abhorrent disasters we'll all have to deal with.

Logically, I know from experience that our next season finale is likely to be a slam dunk. Episodes 12-15 of season 1 were my favorite part of the viewing experience, beautifully weaving together the show's intersecting storylines while still giving us enough peril and mystery to last for another season. Can HBO Max do it again? You bet.

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The best prequels are the ones that have clear ties to an existing world we know and love, but ultimately have a separate identity... and that's something the new HBO Max series The Seduction has achieved effortlessly.

Starring Diane Kruger, Anamaria Vartolomei, Lucas Bravo and Vincent Lacoste, we follow Marquise Isabelle de Merteuil's (Vartolomei) rise to power in the French cultural elite. If you think you've heard that name before, it's the character Glenn Close played in the 1988 movie Dangerous Liaisons (based on the book of the same name).

Therefore, it tracks that Vicomte de Valmont (Lacoste) was played by John Malkovich, with Madame de Rosemonde (Kruger), the old lady who frequently regaled on opulent couches with judging eyes. It took me the entirety of episode 1 to make this connection, and that's to The Seduction's huge credit.

We can see the lore links as the series continues (including to Michelle Pfeiffer's character Madame Tourvel), but the HBO prequel feels like an entirely different beast. Sure, all of the sex and scandal is still there, but it's much more calculated and considered this time around.

As far as legacy prequels go, The Seduction on HBO Max impressed me

Anybody who has an issue watching foreign language shows and movies is going to need to get off their high horse for this one. With all six episodes solely in French, The Seduction takes the drama of 16th century France all the way back to its native language and location, and I think the overarching story is a lot richer for it.

Enemies-to-friends Isabelle and Rosemonde are navigating a man's world, and finding out how to hold power within it. The result? Risky alliances, illicit affairs and plans that could bring entirely families crashing down with one wrong move.

All of our characters are enigmas, proving incredibly difficult to read. Isabelle hides her vulnerability to everyone around her, orchestrating multiple schemes at once to make up for the fact she doesn't trust a soul. Rosemonde has her own agenda, and that threatens in the only genuine friendship she has in her live at every turn.

Then we've got the boys. Valmont starts off causing the biggest betrayal of Isabelle's life, and that's ammunition against him for years to come. Positioned as an elitist playboy, it's difficult to tell whether his feelings for Isabelle are every genuine or not (and to be honest, I still don't buy them).

Gercourt (Lucas Bravo) is presented as our evil pantomime villain. However, I think it's a case of honesty – he isn't actually the most malicious, he's just not cloak and dagger about it. Regardless, he's the embodiment of the worst patriarchal traits in human form.

Between the four, personal vendettas make way for rich and intimate drama. Truthfully, this loses impact as the series reaches its conclusion, but the build-up is so well structured and dynamic that any lulls are easy to overlook.

Lucas Bravo is the real hero in The Seduction, and I'm thrilled for him

I've always had a sneaking suspicion that Lucas Bravo isn't the biggest fan of Emily in Paris – and every interview with him in the lead-up to Emily in Paris season 5 all but confirms that. He's existed under the Netflix character's shadow on a global scale for years now, but his performance in The Seduction comes with night and day difference.

Everything that constrains him in Emily in Paris (namely having to fit the on-off romantic interest TV mould) isn't present in The Seduction, leaving him free to play with stereotype and identity. Bravo is a ridiculously good villain, both vindictive and charming in a single breath. He acts solely on selfish whims, but yet he's weirdly not the worst of the bunch.

For me, he's the standout performance of the series. Perhaps that purely because I'm so thrilled that he's been given a chance to do something so different, but it's equally clear that he's been underused in previous roles. Vartolomei is the other clear standout, and if the Wonder Woman rumors surrounding her are true, I think she's more than proved her craft here.

Given that period drama could so easily fall into a safe TV series blueprint, The Seduction has pushed the boundaries. And don't get it twisted – there's sex in what feels like every other scene, and while it's always explicit, it's never gratuitous.

The Seduction premieres on HBO Max on November 14, with episodes airing weekly until December 19.

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Light spoilers follow for Peacemaker season 2 episodes 1 through 5. Full spoilers also follow for Peacemaker season 1 and The Suicide Squad.

It's incredibly rare to see a C-tier comic book anti-hero star in his own show. It's even less likely that such an individual, who's now arguably one of DC Comics' hottest commodities, would be positioned as the most important cog in a nascent cinematic franchise.

Few eyebrows are being raised about Peacemaker being that person, though. With season 1 of the titular character's TV series receiving critical and commercial acclaim in early 2022, it was a case of when, not if, a sophomore outing would arrive.

Over three years later, Peacemaker season 2 is not only ready to be unleashed, but also become a core component of James Gunn and Peter Safran's DC Universe (DCU). The fact that this chaotic tragicomedy's next installment is as super as its first, and sets the stage for future DCU and DCU-adjacent projects, proves they made the right decision to use it as a key building block for their burgeoning shared universe.

Hero to zero

Set a few months after Gunn's Superman movie, Peacemaker season 2 reunites us with Chris Smith (John Cena), aka the eponymous anti-hero, as he continues to struggle with reconciling his past.

Things aren't much better in the present, either. A failed job interview to join The Justice Gang, the corporately owned team of metahumans introduced in Superman, coupled with Emilia Harcourt (Jennifer Holland) continually rejecting his romantic advances, leaves Smith longing for a better life.

As fate would have it, such an opportunity presents itself to Smith via the secret Quantum Unfolding Chamber (QUC), an inter-dimensional location outside of normal space that exists in the home of his deceased father, Auggie Smith (Robert Patrick). Inebriated one night, Smith stumbles onto a parallel world where his dead dad and brother are alive, and the Peacemaker of this world is a celebrated hero who's in a relationship with this universe's Harcourt. Hypnotized by this idyllic reality, Smith is drawn to it time and again – but, as the saying goes, the grass isn't always greener on the other side.

If the hit HBO Max show's second season sounds like it's putting a multiversal spin on introspective movies like It's a Wonderful Life with a Sliding Doors-style narrative, that's intentional.

Indeed, if season 1 trained its lens on Smith's superhuman alter-ego and his attempts to redeem the 'Peacemaker' name, its sequel is all about the man himself reflecting on the choices he's made and, if he had a do-over, how he'd handle things differently. I really got a kick out of Cena plumbing the depths of Smith's inner turmoil and, despite Smith's efforts to deal with them more maturely, his deeply flawed approach to handling his demons with external vices and increasingly regular trips to an alternate dimension that allow him to live a double life.

Parallels can be drawn between Smith's methodology and that of his perennial love interest, Harcourt. Harcourt's sense of self is rattled after she's fired by ARGUS and blacklisted by every US intelligence agency for apparently helping to expose former ARGUS chief Amanda Waller's role in Project Butterfly and Task Force X last season.

Two sides of the same coin, this impulsive pair uses physical pleasure and pain to numb themselves to their deep-seated trauma, and continues the show's exploration of the nature versus nurture debate in engrossing fashion through their individual arcs. Meanwhile, surprise-laden flashbacks to events that occur after 2021's The Suicide Squad, but before season 1, add a fascinating extra layer of complexity to their dynamic.

The rest of Peacemaker's primary ensemble – who, alongside Smith and Harcourt, are collectively known as the 11th Street Kids – also face similar soul-searching experiences as part of their season 2 arcs.

Indeed, the six-month time jump between Smith chancing upon another universe and this season's main storyline is sufficient enough to show how Leota Adebayo (Danielle Brooks), John Economos (Steve Agee), and Adrian Chase/Vigilante's (Freddie Stroma) lives have changed.

There's a greater emphasis on what makes each character tick and how they deal with setbacks, too, through their more substantial individual arcs this season. The pleasing progression of certain core dynamics and nascent character pairings gives rise to new kinds of awkward, albeit heart-warming, camaraderie. Equally, the fascinating regression of some friendships adds more than a pinch of melodrama, giving Peacemaker 2 a more pronounced soap opera edge than its forebear.

Admittedly, some characters get more to do than others. I was pleased to see the often underappreciated Agee shine in a much bigger role this season, and even Eagly, Smith's rambunctious White Eagle pet/sidekick, gets a funny, though quickly resolved, subplot this time around. However, I wish Stroma's scene-stealing sociopath wasn't relegated to the sidelines as much as he is. Hopefully, season 2 will rectify this glaring oversight in its final three episodes.

Careful what you wish for

With numerous supporting cast members killed off in season 1, there are plenty of vacancies to fill on its follow-up's roster.

So, how do they fare in the DCU Chapter One show? They're all terrific, but Tim Meadows' Langston Fleury and Michael Rooker's Red St. Wild are the pick of the bunch. The former – a greasy, smug, and misogynistic sycophant – picks up the cocksure slack that Cena's Smith discards this season, while the latter plays to Rooker's character strengths as a delightfully unhinged individual who's drafted in by ARGUS director Rick Flag Sr (Frank Grillo) and his deputy Sasha Bordeaux (Sol Rodriguez) to track down Eagly for reasons I won't spoil.

Like Stroma's Chase, I was initially disappointed over the use of Grillo's Flag Sr. Apart from a couple of scenes, including one of the flashbacks I mentioned earlier, Waller's recently-installed replacement – he was hired by ARGUS eight months before season 2's primary story begins – mostly takes a backseat in this season's first four episodes.

Okay, Grillo's active role in proceedings is dictated by how the plot unfolds. However, considering Grillo told me that Flag Sr would be "on a mission" for justice in Peacemaker 2 – remember, the titular anti-hero killed his son in The Suicide Squad – I'd hope this storyline would've featured more heavily in earlier entries. Thankfully, once season 2 refocuses its efforts on the Flag Sr portion of the plot, the full weight and impact of Peacemaker's actions in that 2021 Gunn-directed film reverberate through episode 5 and, hopefully, in its final three chapters.

While we're on the topic of The Suicide Squad, season 2 does a mostly good job of confirming what parts of the DC Extended Universe (DCEU), i.e., Warner Bros' previous superhero-packed cinematic franchise, are officially canon in the DCU.

Ever since Gunn confirmed Peacemaker's second season would be part of his new-look shared universe, fans have wondered how it would handle this. Season 1 and The Suicide Squad were technically part of the DCEU – learn more about it via my DC movies in order guide – before Gunn and Safran's reboot. Smith's surprising but crowd-pleasing cameo in Superman, as well as Peacemaker season 2's official trailer, did little to answer fans' biggest questions. Fortunately, all is revealed through a handy 'previously on...' segment just minutes into this season's premiere. No spoilers, but I think the vast majority of fans will be pleased with the way that Gunn humorously retcons a particular scene from last season's finale – one that was the biggest canonical headache for many.

Expected though they are, it's marvellous to see events and characters from the wider DCU play active roles in Peacemaker 2. Whether it's references to Superman's story, or episode 1's brilliantly dysfunctional interview scene involving The Justice Gang, I was heartened to see these narrative yarns spun out further and prove that, unlike Marvel's cinematic juggernaut, events on the big screen can and should be felt keenly in their small screen counterparts.

And what of the most anticipated part of the show's return – i.e., this season's new title sequence. Last season's opening credits went viral in early 2022, with Gunn telling Entertainment Weekly it was watched four billion times on TikTok. No pressure, then, to make it as good, if not better.

Initially, I wasn't a fan of season 2's glam-rock-inspired dance number. With each episode that passed, though, I'll admit it steadily grew on me to the point where I was actively singing along to 'Oh Lord' by Foxy Shazam, aka the licensed song this season's ambitious choreographed sequence is set to. Don't be surprised if you feel the same way after re-watching it multiple times.

My verdict

Peacemaker season 2 is an impressive, entertaining, and startlingly thought-provoking continuation of its predecessor. A series packed with the usual trappings of a James Gunn project – dark and awkward humor, heart-wrenching moments, action-heavy sequences, a banging soundtrack, reams of melodrama, and broken characters you can't help but adore – it's must-see TV for DC comic book devotees, nascent DCU fans, and casual observers alike.

There are blemishes, some of which I've outlined above and others, like the occasionally jarring tonal shift, ruin its chances of earning a better rating. However, those flaws are comparatively minor in the grand scheme of things.

As I mentioned up top, not many DC Comics characters could carry their own series and be an integral part of the DCU storytelling machine. And yet, Peacemaker proves that, with the right cast and crew, and a creator who understands the material, anything is possible. If Chris Smith existed in the real world, I'm convinced the high regard he's held in by viewers would finally help him to *ahem* make peace with his past.

Peacemaker's second season launches with a two-episode premiere on August 21 (North and South America) and August 22 (everywhere else). Read my dedicated guide for Peacemaker season 2 before it arrives.

Mild spoilers follow for The Last of Us season 2 episode 1.

The Last of Us season 2 has a lot to live up to. Its predecessor set a high bar for HBO's TV adaptation of Naughty Dog's popular video game franchise. So, the pressure on season 2 to reach the heady heights of the hit series' first season and authentically adapt the story told in The Last of Us Part II couldn't be greater.

Based on this season's opening episode, 'Future Days', it seems The Last of Us' sophomore season will be a largely faithful take on its gaming namesake. However, future episodes will need to ratchet up the tension, melodrama, and horror-infused action if season 2 wants to be talked about as glowingly as its forebear.

The dark side of us

Like The Last of Us Part II game, episode 1 of the hit HBO series' second season reunites us with Joel (Pedro Pascal) and Ellie (Bella Ramsey) after a time jump. Indeed, five years have passed since the explosive season 1 finale where Joel massacred numerous Fireflies to save Ellie's life.

Remember, she's immune to the Cordyceps virus because the Fireflies' doctors believe the fungus has been growing in her brain since she was born. So, they were going to use Ellie's brain to create a vaccine, which would kill Ellie in the process. Cue a furious Joel going on a bloodthirsty rampage to rescue Ellie, seemingly consigning humanity to its fate with no cure to combat the virus, and then lying to Ellie about what actually happened at the Fireflies camp.

One push of the fast-forward button later, and the pair have grown accustomed to life in Jackson, the now-bustling Wyoming town that's become a safe haven from the life-threatening, global scourge that's decimated humanity.

Before we catch up with our intrepid duo, there's the small matter of addressing Joel's murder spree and the deceased Fireflies' devastated relatives left to pick up the pieces. That includes Kaitlyn Dever's Abby, The Last of Us Part II's divisive deuteragonist, whose father is among the people Joel mercilessly gunned down.

What's immediately apparent about Dever's Abby is that she's not as physically imposing as her video-game counterpart. Loathed as Abby is by some The Last of Us fans for events in the game that I won't spoil here, I suspect those same devotees will be vexed over what they perceive to be an unnecessary tweak to her build.

Honestly, though, I don't mind this minor, if controversial, change. Yes, Abby's physicality is a large part of her identity, so the decision to downgrade this part of her character is one reason why fans expressed concern for Dever's welfare in the lead-up to season 2's release.

Nonetheless, based on her portrayal of tough and complex yet empathetic characters in other projects, I was already convinced that Dever would be a vengeance-fuelled tour de force in HBO's small-screen adaptation. My confidence has only grown after witnessing the emotional gravitas she imbues Abby with during her limited screentime in 'Future Days', and I can't wait to see how she builds on the character in Part II in future episodes.

By and large, though, this is still the Ellie and Joel show, and the critically acclaimed Max series isn't afraid to show how their once-strong bond has deteriorated in the time since we last saw them.

A major part of the heartbreaking shift in their relationship is down to Ellie's growth as a person. She's still the oft-amusing, impulsive, and reckless individual we came to adore in The Last of Us season 1, but an animalistic fury – one born out of traumatic events she's endured – now courses through her veins. That means she's not only physically older and more world-weary than last season's Ellie, but also far more temperamental and destructive than before.

Unfortunately for Joel, he bears the brunt of the highly charged verbal torpedoes Ellie lets loose. This is more than a normal teen rebelling against a parent, biological or otherwise, though. Indeed, it's a surrogate father-daughter bond on the verge of total collapse.

A clear animosity has developed between them since The Last of Us TV show's season 1 finale. That much is clear in the plot exposition woven into a conversation between Joel and Isabela Merced's season 2 newcomer Dina, who's an utter delight as Ellie's bestie and Joel's surrogate daughter substitute for Ellie.

Fans of Naughty Dog's games aside, I don't think anyone will be prepared for the breakdown in their relationship – hostilities that'll only grow when that huge showdown between Joel and Ellie occurs. In fact, I'd go as far as to say some viewers will be stunned by this development, especially as they spent little time apart in season 1. Like The Last of Us Part II, 'Future Days' keeps interactions between them to a minimum, which serves to make the brief scenes they share all the more heart-shattering.

Support structures

There's more to one of the best Max shows' return than this season's tritagonists in Joel, Ellie, and Abby, though.

The return of characters from season 1, including Tommy (Gabriel Luna) and Maria (Rutina Wesley), plus the addition of new characters like Merced's Dina, Young Mazino's Jesse, plus Abby's strike team (read more about them in my season 2 cast guide) help to populate this universe with fascinating, complex characters whose relationships will be impacted by the actions of the aforementioned trio. That each new actor fits their character like a glove only makes them more likable and/or intriguing to watch, too.

There's also a largely gratifying expansion of the narrative depicted in Part II. Most are minor narrative improvements that flesh out its story or refine the tale Naughty Dog originally told, but the odd one or two additions might frustrate long-time fans wanting a beat-for-beat re-tread of the game series' latest entry.

One change that won't irk fans is the addition of Gail (Catherine O'Hara), a psychotherapist whose complex relationship with Joel is already a season highlight of mine after season 2's opening episode. I reveled in seeing these powerhouse actors, whose emotion-wracked performances speak louder than words ever could, go toe-to-toe. I really hope we're treated to more similarly intense interactions between them over the course of this season.

The premiere's near-hour-long runtime allows for brief moments of levity to shine through the post-apocalyptic melodrama, too.

Much of that comes by way of Ellie and Dina's endearing puppy love-style dynamic. Ramsey and Merced clearly revel in egging each other on as their respective characters; their playful exchanges punctuating the sobering yet dangerous world they inhabit.

Even though I know what happens in Part II, I'm still keen to see how their relationship evolves.

'Future Days' has already set up fascinating threads for this dynamic with the fallout from their romantically charged dance, Ellie's physical run-in with a new version of the Infected (aka the Stalker), and the ominous, double-headed nature of how this season's premiere ends all set to change the duo's perceptions of, and loyalty to, each other. That's before we even get to that absolutely soul-crushing moment from Part II (if you know, you know) that'll severely impact their friendship.

If there's one criticism I have of 'Future Days', it's that it's the epitome of a calm before the storm-style episode.

Okay, it's supposed to serve as a slow-paced reintroduction to this universe that moves the requisite chess board pieces into place for more heart-pounding, shocking, and revelatory events to come. Still, there are moments of thrilling action and/or location-based exploration in Part II's first few hours of gameplay that, while they can't be directly translated for television, could've been substituted for other suspense-filled storytelling beats.

My verdict

'Future Days' is a purposeful and methodically paced reintroduction to HBO's retelling of The Last of Us, and one I mostly enjoyed. As a catch-up episode, it didn't need to employ a gung-ho storytelling approach. I was also largely satisfied with its near-perfect authentic take on Naughty Dog's source material.

That said, compared to season 1's action-heavy and emotionally devastating opener, it felt somewhat underwhelming in its design. Part II's most heart-rending moment notwithstanding, more thrills and tragedy-laced incidents will be required in future episodes – in season 2 and The Last of Us' recently confirmed third season, both of which cover the story told in Part II – to recapture the infectious magic of its predecessor.

The Last of Us season 2 episode 1 is out now on Max (US and Australia) and Sky Atlantic (UK).