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Review: It’s a wonderful afterlife in The Good Place’s bittersweet finale

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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.

(Spoilers for first three and a half seasons below. Major spoilers from the last half of S4 are below the second gallery. We’ll give you a heads up when we get there.)

In the pilot episode, Eleanor Shellstrop (Kristen Bell) woke up in a generically pleasant waiting room and discovered she was dead and in “the Good Place.” Neighborhood architect Michael (Ted Danson) explained the afterlife point system and introduced her to Janet (D’Arcy Carden), an AI guide who serves as the Good Place’s main source of information and can pretty much give residents anything they desire (however ludicrous). Eleanor also met her “soulmate”: a moral philosophy professor named Chidi (William Jackson Harper). Once they were alone, Eleanor confessed to Chidi that she’d been admitted to paradise by mistake and asked him to help her become a better person—no small feat, since by her own admission, Eleanor was a “trash bag” of a human being back on Earth.

It soon turned out she wasn’t the only person mistakenly admitted. The silent monk Jianyu (Manny Jacinto), soulmate to the rich, perpetually name-dropping socialite Tahani (Jameela Jamil), was actually a dim-witted DJ from Jacksonville, Florida. We also met Mindy St. Clair (Maribeth Monroe), a former corporate lawyer whose final act of charity (while high on cocaine) made her the sole inhabitant of the Medium Place, where everything is just kind of… okay. The season ended with a genuinely shocking twist: Eleanor, Chidi, Jason, and Tahani were actually in the Bad Place; throwing them together was a novel form of torment, whereby they tortured each other. Michael was a Bad Place demon architect in disguise, and once found out, he rebooted the entire experiment, wiping the fab four’s memories in the process.

S2 dug deep into the question of whether it is possible for a damned soul to become a better person after death. Eleanor kept figuring out they were really in the Bad Place for a whopping total of 803 reboots. When the demon staffers revolted, Michael joined forces with Eleanor & Company, meaning he, too, ended up studying moral philosophy under Chidi’s tutelage. The many philosophers name-checked include Immanuel Kant and his categorical imperative, Aristotle, Kierkegaard, and T.M. Scanlon’s seminal text What We Owe to Each Other. The series may be over, but we’ll always have Chidi’s brave attempt at a Kierkegaard rap, and Michael’s brilliant-but-bloody simulation of the Trolley Problem.

William Jackson Harper spits the rest of Chidi’s Kierkegaard rap from S2 of The Good Place.

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.)  

Who could forget Chidi’s momentary breakdown upon hearing this, making a huge pot of “chili” out of Peeps and candy? When Janet whisks everyone off to her void, they all take on her appearance, causing Eleanor to have an identity crisis and giving Chidi the perfect opportunity to pontificate on the philosophy of the self. (It’s quite a performance from Carden, who must mimic each character’s idiosyncrasies.) The scene where Eleanor and Michael debate determinism and free will is The Good Place at its best: delving into deep philosophical quandaries with intelligence and a light touch.

Then Michael learned that no human had earned enough points to get into the Good Place for more than 500 years and suspected the system was rigged, or at least hopelessly flawed. In the S3 finale, Michael convinced Judge Gen to repeat the original experiment of S1 with four new humans, chosen by the Bad Place. The Soul Squad would be on hand to assist. But there’s always a catch when the Bad Place gets involved, and this one was particularly heartbreaking for fans of the Eleanor-Chidi soulmate coupling. Chidi was rebooted along with everything else, which removed his memories of Eleanor.

Remaking the afterlife

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.

Eleanor is now running the experiment in the Medium Place, with four new test subjects: John (Brandon Scott Jones), a former gossip columnist who wrote nasty things about Tahani back on Earth; uber-douche male chauvinist Brent (Benjamin Koldyke); Chidi’s Australian neuroscientist love interest from S3, Simone (Kirby Howell-Baptiste); and Chidi himself (a replacement for Linda—played by Rachel Winfree—who turned out to be a demon in disguise). There were twists and double crosses and daring rescues, ending with Judge Gen concluding that, yes, the afterlife’s point system is flawed. But her solution is to wipe out all humans from existence in a reset to start over—not the outcome the Soul Squad was hoping for.

(Warning: major spoilers for the finale below. STOP reading if you haven’t seen it yet.)

Fortunately, an army of Janets—led by a Bad Janet newly converted to the cause—hides the garage door opener clicker thingy Judge Gen was going to use to erase the Earth. While the judge searches each of Janet’s void—Disco Janet has the most awesome void, while we catch a glimpse of Chidi’s mutant horse roaming in a Bad Janet’s void—Michael wakes up Chidi and tasks him with designing a new version of the afterlife. If they can get arch-demon Shawn (Marc Evan Jackson) on board, the judge will relent and give humanity another chance.

And this is where everything that’s been building, theme-wise, in prior seasons finally comes to fruition. The gang first comes up with a mishmash version of the current afterlife, with the addition of a permanent Medium Place for people who are neither truly good nor truly bad. But that doesn’t really solve the problem of the flawed point system, which everyone agrees is a terrible metric for assessing human behavior and potential for improvement. After 803 reboots, the original Soul Squad have all become much better, self-aware people. And so has Michael, a Bad Place demon, and Janet, now the most advanced of her kind—heck, she even gave the judge a chance to meet Timothy Olyphant, star of her favorite Earth show, Justified.

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.

To infinity and beyond

For saving all of humanity, the Soul Squad finally gets into the Good Place. On any other show, this might have been the perfect ending, but when Chidi meets one of his philosophical heroes, Hypatia of Alexandria (a cameo by Friends star Lisa Kudrow), we learn that an eternity of perfection is not all it’s cracked up to be. The Good Place residents are frankly bored, and “Patty” (as Hypatia calls herself) mourns the loss of her once-sharp intellect due to the lack of any kind of challenge. Meanwhile, Michael is tricked into taking over the Good Place, and the former staffers flee.

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.

After your umpteenth penis-flattening, the joy really fades.

Julian Barnes explores this dilemma at length in “The Dream,” the final chapter in his 1989 novel, A History of the World in 10-1/2 Chapters. In his version of heaven, everyone gets exactly the kind of afterlife they want—which mostly turns out to be a continuation of life, only better. But as the millennia pass, everything that seemed amazing at first starts to seem banal and pointless. So everyone also has the option of opting to die off a second time, for good, and everyone takes that option eventually. As the narrator concludes, “Heaven’s a very good idea, it’s a perfect idea you could say, but not for us. Not given the way we are.”

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.

Honestly, the series could have ended right there and I would have been pleased. But did you really think series creator Michael Schur was going to let us off that easy? The roughly 80-minute finale was essentially a prolonged denouement. While it seemed like fan service at times, it also brought an element of disquiet and sadness, as we see each original member of the Soul Squad reach a point where they want to move on in some way—whether they choose to walk through the final door or not.

Schur could have spun out the show for many more seasons, but in the end he applied the same principle to the series as Michael did to fix the Good Place. Knowing that its time was finite made this final season—and the entire run—especially bittersweet, and hence that much more meaningful, to its fans. Are we sad to say goodbye to the Soul Squad? Most definitely. But their madcap philosophical journey will always be with us via streaming and/or syndication.

Chidi’s wave returns to the ocean on The Good Place.

Listing image by NBC/Universal

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Arcade1Up pinball cabinet review: Fine for families, interesting for modders

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Enlarge / Say hello to the Arcade1Up Attack From Mars physical pinball cabinet. The chassis is physical; its games are all virtual. Read below to understand what the heck that means.

Sam Machkovech

If you’re of a certain generation, chances are you have imagined (or, at this point in your adulthood, built) your own home arcade that resembles something out of the golden ’80s era. One useful path to making this a reality, especially in tighter quarters, is the “multicade,” an invention that squishes multiple games into a single cabinet.

But what if your old-school gaming dreams revolve around something bigger and bulkier, particularly pinball? Until recently, your options were either buying a bunch of original pinball cabinets or building your own ground-up emulation solution. And the latter is complicated by the realities of how pinball plays and feels.

I’ve wondered how long it would take for that to change in the gaming-nostalgia market, especially as companies like Arcade1Up produce and sell more multicade cabinets for home use. The time for change is now, evidently, thanks to a handful of manufacturers producing pinball multicades. Arcade1Up in particular launched three distinct pinball emulation cabinets this year, each revolving around a different license.

Thanks to Arcade1Up, I’ve gone hands-on with arguably the most interesting product in its 2021 pinball line: a collection of 10 classic tables, all created by Williams during its arcade heyday but emulated for more convenient home play. What exactly does $600 get you in terms of emulation and build quality?

Time to get Mad and Medieval

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Game Boy Advance game gets split-screen multiplayer through new FPGA core

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Developer Robert Peip shows off some split-screen Game Boy Advance multiplayer gaming through his new FPGA core.

Here at Ars, we’re big fans of situations where emulation creates a classic gaming experience that’s actually better than what you could get with original hardware in some way or another. In the past, that has meant upsampling rotated sprites in SNES’ “Mode 7” games or adding “widescreen” support to NES games or mitigating the controller lag that was built into certain older consoles or overclocking an emulated SNES to remove slowdown without ruining gameplay timing.

The latest emulation-powered retro-gaming upgrade to cross our paths greatly simplifies an oft-overlooked capability built in to many Game Boy Advance titles. Namely, it adds the ability to play multiplayer titles in split screen on a single display.

This upgrade is the work of Robert Peip, a developer who’s spent years working on field-programmable gate arrays (FPGAs). These days, Peip works primarily on the MiSTer FPGA an open source project that recreates classic gaming hardware extremely accurately through emulation “cores” that replicate every single logic gate involved in the schematics of the original system (most of Analogue’s high-end retro hardware is similarly powered by FPGA cores). Such cores are currently available for consoles ranging from the Odyssey 2 through the Neo Geo era and more.

Peip’s new “special version” of the Game Boy Advance FPGA core works relatively simply, running two GBA cores in a single MiSTer. As Peip explains, “you get 2 raw GBA cores, one connected to SDRAM, one connected to DDR3, communicating directly inside the FPGA. Sound is used from Core 1 only.”

Thus, games originally designed to be played on two consoles connected via link cable can now be played in split screen on a single MiSTer with a single connected display, as shown in this demonstration video. Peip says that “most multiplayer games should be supported,” a statement that presumably includes original Game Boy games (which work on a GBA link-cable through a supported secondary mode).

Playing these multiplayer GBA games on original hardware required two separate consoles, two copies of the game, and a GBA link cable, ensuring most casual players probably never even bothered (some GBA games offered limited multiplayer with just one cartridge). And while previous GBA emulators have offered link-cable support, even that required a LAN or Internet connection between two separate machines with two separate displays. While some RetroPie users have done a bit of finagling to get multiplayer games for the original Game Boy working via split screen, we’ve never seen a similar one-machine, one-display solution for Game Boy Advance multiplayer games before this.

Peip’s turnkey test core for multiplayer GBA emulation is currently only available by supporting his Patreon, and it is currently missing features like savestates, fast forward, and visual filters available on other GBA cores. Still, we’re excited to have a new, easier-to-use method to try the oft-ignored multiplayer modes in some classic portable titles. Now if we could only get split-screen support for those four-player GBA titles…

Listing image by Nintendo

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Peter Jackson’s 6-hour Beatles documentary confirmed for Disney+ this November

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Peter Jackson’s next six-hour epic is finally coming out this year—and in a first for the acclaimed director, the film will launch directly to a streaming service. It will also be broken up into episodes.

The Beatles: Get Back, an expansive documentary originally announced for a theatrical run this August, has had its release strategy tweaked. On Thursday, Jackson and Disney confirmed that the entire project will launch exclusively on Disney+ during this year’s American Thanksgiving holiday. Each third of the documentary will launch on the streaming service on November 25, 26, and 27. As of press time, Disney hasn’t said how the film will reach audiences outside of Disney+’s supported territories. Neither Jackson nor Disney clarified how the original theatrical run might have worked or whether the global pandemic forced anyone’s hand.

Today’s news confirms that Jackson had an abundance of footage to work with. Roughly three years ago, the remaining Beatles handed him access to a musical holy grail: over 60 hours of previously unseen video recordings, mostly capturing the Beatles working on the album Let It Be and rehearsing for, and then performing, the band’s legendary 1969 rooftop concert in London.

Jackson stitched the footage together with access to what Disney calls “over 150 hours of unheard, restored audio”—meaning yes, somehow Apple Corps. still has some tapes in hiding after this many Beatles special edition albums, anthologies, video games, and Cirque du Soleil collaborations. For further context on the Let It Be recording sessions, the film will be paired with a physical book full of photos and original interviews, now delayed to an October launch.

Jackson’s comments in today’s news, as provided by Disney to members of the press, imply that he indeed sought to release a long documentary: “I’m very grateful to the Beatles, Apple Corps., and Disney for allowing me to present this story in exactly the way it should be told.” He also commented on the original documentary footage, filmed by Michael Lindsay-Hogg, as something that is “not nostalgia—it’s raw, honest, and human.”

The Beatles: Get Back will launch on a Thursday, thus breaking Disney+’s latest initiative of launching new series episodes on Wednesdays instead of Fridays. If anyone can break a newly sacrosanct Disney+ rule, it has to be the Beatles.

Listing image by The Walt Disney Company / Apple Corps / Wingnut Films

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