(Spoilers for The Last Of Us will be found below.)
As the debut season of The Last Of Us continues, HBO sure is putting its music budget to good use. This week’s episode played various hits from Fleetwood Mac and Cream (your ideal apocalyptic soundtrack). Still, one song played an essential role in the episode’s narrative, and that is Linda Ronstadt’s “Long, Long Time” from her 1970 album Silk Purse.
Episode three brings Nick Offerman into the mix as Bill, the grumpy survivalist who accidentally catches Murray Bartlett’s Frank in one of his traps. After a tense encounter, Bill allows Frank to stay for the night, which turns into several years of them living together in a zombie-free domestic bliss, where they bond over music and fall in love over Bill’s poor piano playing, beginning with “The Long, Long Time” by Linda Ronstadt.
It’s an emotional rollercoaster that ends up showing Bill and Frank’s final day (which also doubles as Offerman’s campaign for an Emmy). Frank gets sick and they chose to live out their final, heartbreaking moments together.
Joel and Ellie show up years later when they use Bill’s car, which just so happens to have Linda Ronstadt’s tape. The two drive off of Bill’s property listening to the song that soundtracked Bill and Frank’s life for so long. A long, long time, if you will!
Craig Mazin, episode writer and series co-creator, wanted to make sure he found a song that was perfectly melancholy and enough to make several grown men cry. Mazin told IndieWire: “I went through hours and hours and hours. And finally, I was like, ‘I know what to do. I’m going to text my friend Seth Rudetsky,’ who is a host on Sirius XM On Broadway, and has this encyclopedic knowledge of all music,” Mazin explained. “I described what I needed and within 30 seconds, it was [incoming text noise] ‘Long, Long Time by Linda Ronstadt.’ I kinda remembered that song. I played it and was like, ‘Oh, my. There it is.’”
The use of the song was enough to get it trending on social media, with many fans hoping that Ronstadt will get her Kate Bush-level hype for being on a popular sci-fi series during a pivotal episode, or at least some award season hype for Nick Offerman and his dramatic acting chops. Even if neither of them are acknowledged, it’s likely we will remember this episode for a long (long) time.
(Spoilers for The Last Of Us will be found below.)
Whether you’re a gamer or not, episode three of HBO’s The Last of Us likely put you through the emotional wringer. That’s because, unlike its console-hosted predecessor, the show dived into the moving and poignant backstory of two background characters who just didn’t get enough screen time in the game.
In “Long Long Time,” showrunner Craig Mazin and creator Neil Druckmann devoted an entire hour to telling a surprisingly touching love story between a lone-wolf survivalist named Bill (Nick Offerman) and an outgoing drifter named Frank (Murray Bartlett.) In Druckmann’s original creation, Bill and Frank were assumed to be business partners who lived together in a cordoned-off town somewhere outside of Boston. By the time the game pays Bill a visit, Frank is dead, having left his “friend” over a disagreement before getting bit by an Infected and choosing to hang himself rather than turn into one. When Joel and Ellie arrive, seeking help from Bill, he reluctantly gives it, revealing Frank’s fate in the process before sending them on their way with supplies and a vehicle. We never learn what happens to Frank, but it’s assumed he continues to survive in that same small town since, well, he’s good at it.
But the show basically tosses that timeline out the window in favor of a more memorable, moving story, one that starts with Bill meeting Frank — after the drifter lands in one of his traps — and ends with the two living happily ever after. Or, at least as “happily” as one can live in a post-apocalyptic world, and as long as one can live while still being human. Unlike in the game, “Long Long Time” gives the couple a definitive ending. After suffering for years with a mystery illness that’s never defined but is likely some version of MS or ALS, Frank decides to end his own life by muddling up a bag full of pills in his evening wine. He asks Bill for his help in doing so, requesting “one more good day” before he can fall asleep forever in his partner’s arms. Bill reluctantly agrees but, when it comes time for Frank to drink his wine, Bill also chugs back a glass, leading his husband to realize he too has decided to die.
It’s terribly romantic, especially when Frank attempts to argue with Bill before Bill explains that caring for him was his purpose and that he’s satisfied with his life. The pair eventually go off to bed and though we never see them again, Bill does leave a letter for Joel explaining his decision and expressing his hope that Joel will also find someone who becomes his “purpose.”
Marie Kondo’s book, “The Life-Changing Art of Tidying Up,” has repeatedly made huge waves around the world since it came out in 2010. From eliminating anything that didn’t “spark joy” from your house to folding clothes into tiny rectangles and storing them vertically, the KonMari method of maintaining an organized home hit the mark for millions of people. The success of her book even led to two Netflix series.
It also sparked backlash from parents who insisted that keeping a tidy home with children was not so simple. It’s one thing to get rid of an old sweater that no longer brings you joy. It’s entirely another to toss an old, empty cereal box that sparks zero joy for you, but that your 2-year-old is inexplicably attached to.
To be fair, Kondo never forced her way into anyone’s home and made them organize it her way. But also to be fair, she didn’t have kids when she wrote her best-selling book on keeping a tidy home. The reality is that keeping a home organized and tidy with children living in it is a whole other ballgame, as Kondo has discovered now that she has three kids of her own.
Despite the Schadenfreude many parents may feel at Kondo’s confession that kids change things, her reasoning for letting things go is actually right in line with her philosophy of embracing joy.
“Up until now, I was a professional tidier, so I did my best to keep my home tidy at all times,” she said. “I have kind of given up on that in a good way for me. Now I realize what is important to me is enjoying spending time with my children at home.”
Kondo has offered tips for tidying with kids at home since she became a mom, and they’re pretty solid. But as any parent can attest, some children are naturally neater than others, and how many kids you have makes a big difference as well.
Kondo gave birth to her third child in 2021, so she’s currently in the adorable hell that is toddlerland. Research has also found that parents of three kids are the most stressed, so if Kondo has found a way to enjoy time with her kids and create more balance in her life by letting go of her tidiness standards, more power to her.
Her new book, “Marie Kondo’s Kurashi at Home: How to Organize Your Space and Achieve Your Ideal Life,” focuses on designing your living space so it works for you. “Kurashi” loosely translates to “way of life” or “the ideal way of spending our time,” and Kondo says it’s about seeing the world through the lens of what matters most.
“I believe that when we consciously cherish something precious, we deepen our relationship with it,” she shares on her website. “This, in turn, deepens our bonds with other things in our lives, bringing out the best in them and in ourselves.”
Applying that philosophy to family, Kondo’s “giving up” on tidying all the time makes perfect sense. If spending quality time with your children sparks more joy than keeping your belongings organized just so, then that’s what you should do.
Kudos to Kondo for publicly acknowledging that having kids has altered how her home looks and for validating what so many parents have felt in the face of unrealistic expectations of tidiness. She could have kept up a front of always being on top of organization and having a perpetually tidy home, but she didn’t. Here’s to her willingness to share the reality, here’s to embracing joy in the fleeting time we have with our children, and here’s to letting go of the rules that might interfere with that, even if it means humbly admitting defeat in the face of our kids’ messes.
To live in a perfectly curated, always tidy, Marie Kondo-worthy home might be a lovely fantasy. But for many, dare I say most of us, that is simply not a reality. There just aren’t enough hours in the day or helpful hands in the house to keep it from getting messy multiple times a week. Square that by a million if the home has small kiddos in it. And if there’s only one parent to clean up after those small kiddos? Forget about it.
That’s why people are letting out a huge sigh of relief after getting a video tour of Julia Fox’s New York apartment in all its glorious disarray.
The actress and model is often seen wearing bold, high-end fashion pieces at glamorous events like the Met Gala,
but her home is anything but glamorous.
In a three-minute clip posted to her TikTok, Fox first shows off the completely unmade bed in her bedroom, which is technically the living room.
Fox, a single mom, explains that her actual bedroom was converted into a playroom for her son Valentino. The makeshift playroom is filled with a flurry of toys, plus a rogue clothing rack that Fox knows she “really needs to get rid of.”
Fox then takes us down a long and very cluttered hallway, through the kitchen filled with shoeboxes (a common sight in New York apartments, apparently), and into Valentino’s actual room, which is by far the cleanest room in the house. Of course, that’s only because Valentino is almost never in there and wants to hang out in mom’s room.
And that’s it. That’s the entire apartment. No frills. Just a small apartment with the charming chaos of parenthood.
“For me personally, I just don’t like excessive displays of wealth, [it] makes me feel icky. Especially people that have really big houses. It’s just really wasteful when there are so many homeless people in this country, and I’m not really like that,” Fox says in her video. “I know I’m gonna get roasted, but hopefully, somebody watches this and thinks, ‘Well, OK, maybe I’m not doing so bad.’”
Clearly, people did watch. The TikTok has racked up 8 million views in only two days, with thousands of viewers sharing how the “underwhelming apartment tour” was a breath of fresh air.
“I am legit flabbergasted that Julia Fox lives just like me. It doesn’t seem right,” commented one person.
“Me and Julia Fox both have wood platform beds with no headboard,” added another.
While Fox was met with some criticism, the overwhelming consensus was praise for both her transparency and down-to-earth parenting style.
“Love how much of your space is dedicated to your son,” applauded one commenter.
Another wrote, “You’re a mother that obviously prioritizes your child & it is a beautiful apartment. Love you are showing that success looks different for every person.”
Life can be messy sometimes. That remains true whether you’re a privileged celebrity or just an average person trying to get by. So maybe we can all cut ourselves some slack for letting things pile up from time to time. Odds are, there’s still plenty about a home to appreciate, even when it does look like a hurricane ran through it.
It looks like there’s a collaboration between Chlöe and Anitta on the way. Over the weekend, Chlöe was spotted filming a music video with the Brazilian superstar in Rio de Janeiro.
In May, Anitta revealed that she shared a group chat with Chlöe and Camila Cabello. In October, Anitta and Chlöe referred to each other as “sisters” in their Instagram stories. Now it looks like their close friendship is leading to a collaboration.
This past week, Anitta was filming a video for a new song in Rio de Janeiro. During the shoot, Anitta was wearing an outfit that read “Furacão 2000,” or “Hurricane 2000,” on her chest and her derrière. The shoot went viral when Anitta was filmed simulating oral sex in one of the video’s scenes. She is known for not being afraid to push buttons and boundaries with her music. Videos and photos later surfaced of Chlöe partying with Anitta at the shoot.
Earlier this month, Anitta said that she was working on a funk carioca, or Brazilian funk, album. This video could be from that upcoming project. DJ Gabriel do Borel, who has worked with Rosalía, was present at the video shoot as well. Rosalía played his Brazilian funk banger “Sento No Bico Da Glock” during her Louis Vuitton set at Paris Fashion Week.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Lil Yachty‘s new album, Let’s Start Here has everyone talking. From its psychedelic sound to its trippy visuals, it’s safe to say this record is a complete left turn from the Atlanta rapper’s signature trap sound.
Let’s Start Here has garnered much praise from fans and fellow musicians, lauding Yachty for pushing the envelope musically. One of the artists who can’t stop listening to the album is Questlove, who gave props to Yachty for successfully pulling off a new sound.
“I really really really really love this @lilyachty record,” said Quest in an Instagram post, “and I love when artists pull off a good departure record (departure albums are when musicians pull a COMPLETE creative left turn —-most times as a career sabotage of feeling doomed to not be able to live up to a standard they set.”
Elsewhere in the post, Quest said the album has left him feeling “hyped about music’s future”
You can check out Quest’s full post below.
“I had to let 24 hours go by just so I could process this. Then I hesitated cause I didn’t wanna use hyperbole to naturally give the trolls ammo to hate it or to further evidence sort why my co-signs are whack.
I dunno man: after about 3 listens (and I thought I’d NEVER say this—-& not because “I didn’t expect this from Lil Yachty”——but just in general I didn’t expect this from MUSIC)
How should I put it? I really really really really love this @lilyachty record and I love when artists pull off a good departure record (departure albums are when musicians pull a COMPLETE creative left turn —-most times as a career sabotage of feeling doomed to not be able to live up to a standard they set. Not being able to make the Thelma & Louise jump. Quitting the job/relationship before you give em a chance to fire you—)—-some famous departure albums backfired (Sgt Peppers wound up making the Beatles even MORE important further proving you can’t just do tin pan alley showtunes & think THAT is gonna get rid of the screaming fanbase….now the entire world wants a piece of you) Some were pure art that turned off the fanbase that came to the party for seconds of what you served before (Paul’s Boutique/Around The World In A Day) some seemed like career disasters w critics (Dylan’s Self Portrait & Davis’s On The Corner & Gaye’s Here My Dear) & then some come just for the sheer sake of surprise & man it’s like “WTF did I just listen to?” (Kid A/Kamaal The Abstract/Back To Black/A Seat At The Table)——-this aptly titled #LetsStartHere lp might be the most surprising transition of any music career I’ve witnessed in a min, especially under the umbrella of hip hop. I remember @divinestyler_1 has a sophomore release that shocked me & im still processing the 3rd @junglebrothers4life lp some 30 yrs later. But man….whatever you put in your Wheaties bro….keep goin.
Sh*t like this (envelope pushing) got me hyped about music’s future.”
Let’s Start Here is out now via Motown and Quality Control. You can stream it here.
Dreamville singer Ari Lennox’s Age/Sex/Location Tour is officially underway. The tour started last Thursday, January 26, at the Las Vegas House Of Blues and has 24 dates remaining as of this writing. If you haven’t already got your tickets, I’d suggest you get a move on, as this could be the last opportunity fans have to catch Lennox on tour.
Even though Ari says it’ll be her last tour, it’ll be many fans’ first opportunity to check out her opener, Alex Vaughn, live. Vaughn, who is signed to LVRN, released her debut project The Hurtbook late last year. It was warmly received by those in the know, so it might be worth getting on the bandwagon now. LVRN has proven to be a successful talent incubator — see: 6lack, DRAM, and Summer Walker — so her star will almost certainly continue to rise.
this is so insane! i’m so overjoyed like—
if we’re sold out in your city come to a new city bc y not!?@AriLennox
Check out the remaining dates for the Age/Sex/Location Tour below.
02/01/2023 — Los Angeles, CA @ The Wiltern
02/07/2023 — Vancouver, BC @ Commodore Ballroom
02/09/2023 — Seattle, WA @ Paramount Theatre
02/11/2023 — Oakland, CA @ The Fox
02/14/2023 — Denver, CO @ Summit
02/16/2023 — San Antonio, TX @ Aztec Theatre
02/17/2023 — Dallas, TX @ House Of Blues
02/19/2023 — Houston, TX @ House Of Blues
02/21/2023 — Austin, TX @ Emo’s Austin
02/22/2023 — New Orleans, LA @ Fillmore New Orleans
02/24/2023 — Orlando, FL @ House Of Blues
02/26/2023 — Atlanta, GA @ Coca-Cola Roxy
02/27/2023 — Charlotte, NC @ The Fillmore Charlotte
03/02/2023 — Nashville, TN @ Marathon Music Works
03/04/2023 — Wallingford, CT @ Dome at Toyota Oakdale Theatre
03/05/2023 — Boston, MA @ House Of Blues
03/07/2023 — Toronto, ON @ HISTORY
03/08/2023 — Chicago, IL @ House of Blues
03/14/2023 — Minneapolis, MN @ Fillmore Minneapolis
03/16/2023 — Detroit, MI @ The Fillmore Detroit
03/18/2023 — Philadelphia, PA @ The Fillmore Philadelphia
03/21/2023 — New York, NY @ Terminal 5
03/25/2023 — Silver Spring, MD @ The Fillmore Silver Spring
03/28/2023 — Washington, DC @ Howard Theatre
This part-time supergroup automatically becomes one of the biggest bands in indie rock whenever Phoebe Bridgers, Lucy Dacus, and Julien Baker decide to work together. It’s hard to believe that they only have one EP to their name, but that will change in March with the release of their first full-length, The Record. The album was previewed this month by three singles — one written by each member — that showcased how the individual Boygeniuses sound even more like themselves in a group context. Baker’s “$20” is the intense emo-rocker, Bridgers’ “Emily I’m Sorry” is the wistful Elliott Smith homage, and Dacus’ “True Blue” is the sharply observed relationship number. All three are worthy songs, though I give the slight edge to Dacus, if only for this characteristically evocative verse: “You’ve never done me wrong / Except for that one time / That we don’t talk about / Because it doesn’t matter anymore / Who won the fight? / I don’t know / We’re not keeping score.”
2. The National, “Tropic Morning News”
When I saw the most reliable band/brand in indie rock last summer, I was excited by how guitar-heavy the new songs they were previewing were. So I was happy to find that “Tropic Morning News” — one of my favorite numbers from the tour, and the first single from the forthcoming album First Two Pages Of Frankenstein — pretty much retains the energy I loved from the live version. The headline from the new record is the number of high-profile cameos (Taylor Swift! Phoebe.Bridgers! Sufjan Stevens!) which can be a red flag for a potentially cluttered and unfocused effort. But “Tropic Morning News” gives me hope that The National will retain their ineffable National-ness.
3. Wednesday, “Chosen To Deserve”
One of my most anticipated albums of 2023 is the latest from this North Carolina band, Rat Saw God, and the latest single has not lowered my expectations. Karly Hartzman has acknowledged the influence of Drive-By Truckers on her own observational style and the subject matter she’s drawn to — mainly the ins and outs of sleepy southern communities with dark secrets — and this song plays like a full-on tribute to albums like The Dirty South and Brighter Than Creation’s Dark. Can’t wait to hear more.
4. John Cale, Mercy
If John Cale had stopped making music in 1970, he would still be a legend as a founding member of The Velvet Underground. But the man has always resisted resting on his laurels, as he’s pushed forward with records that toe the line between rock accessibility and avant-garde perversity. His latest album leans every so slightly toward the latter, even with a big-name supporting cast of indie luminaries (including Dev Hynes, Sylvan Esso, Weyes Blood, and both Panda Bear and Avey Tare of Animal Collective). The overall vibe is perhaps described as “dark and moody sex-goth dungeon,” which I swear is a compliment for the 17th solo record by an 80-year-old icon.
5. White Reaper, Asking For A Ride
When this Louisville band broke out in 2017 with their lovable second album, The World’s Greatest American Rock Band, they were an indie act commenting on the history of mainstream arena rock. But the record’s fist-pumping Thin Lizzy homages were so convincing that they actually became a mainstream rock band upon signing to Elektra for their next LP, You Deserve Love, which spawned the hooky radio hit “Might Be Right.” For their latest record, White Reaper has split the difference between their scrappy indie roots and present-day glossy trappings, producing their hardest rocking songs since World’s Greatest without skimping on the radio-friendly hooks. At their best, they’re like a modern-day Cheap Trick — middle American rock lifers whose sly sense of humor adds a subversive edge to grabby rock anthems.
6. Zach Bryan, All My Homies Hate Ticketmaster (Live From Red Rocks)
Bryan’s breakout 2022 album American Heartbreak was one of my favorite releases of last year, and I’m still discovering new tunes I love from it. At 34 tracks, there is a lot to plow through on that record. Which is why this live LP, which dropped at the end of December, might be an even better entry point for neophytes. Clocking in at 24 songs, it’s a relatively svelte survey of Bryan’s rapidly growing body of work, and the adoring audience could not be more excited to anoint him their new Americana savior. The rambunctious sing-alongs that seemingly greet him at every turn — this is like an old-school Dashboard Confessional gig times 10 — speaks to his burgeoning superstar status.
7. Leland Whitty, Anyhow
January is a slow month when it comes to new releases, so I spent a good amount of time catching up with records I missed, either via year-end lists or reviews of albums that were released (and therefore overlooked) during year-end list season. This record, which dropped in early December, is one of my favorite discoveries in that regard. I’ve been a casual fan of the Canadian jazz-funk outfit BADBADNOTGOOD for a while now. But I don’t know that any of their records have hooked me quite like this solo effort from the band’s multi-instrumentalist. On his own, Whitty’s music takes on more of a psychedelic pop feel, with lots of delectably retro instrumental tones, kind of like Air’s Moon Safari with more saxophone.
8. Danny Arakaki, Tumble In Shade
Like Whitty, Arakaki is best known for his work with a jammy indie outfit. As a singer/guitarist in Garcia Peoples, he explores the space between the Grateful Dead and indie-jam luminaries like Pavement and Yo La Tengo. On his own, his music tends to lean more toward the latter. Tumble In Shade is a likably shaggy collection of songs that recalls the foggiest and most exploratory albums in the aforementioned bands’ catalog, like a cross between the most ramshackle parts of Terror Twilight and the dreamiest interludes on Summer Sun.
9. The Tubs, Dead Meat
This album only came out a few days ago, but it’s already one of my most-played records of the month. This British band plays strummy and zippy jangle rock that’s immediately reminiscent of bands like Rolling Blackouts Coastal Fever, but Owen “O” Williams’ vocals add another texture to the mix. Because he sounds a bit like Richard Thompson — or like Bob Mould doing his Richard Thompson impersonation on Workbook — Dead Meat has a pleasing British folk flavor. While the tunes deliver a jolt with their rapid BPMs, the melodies would shine just as brightly if played at half the pace.
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
The Kremlin is none too pleased about former British Prime Minister Boris Johnson’s claim that Russian President Vladimir Putin threatened to instantaneously erase him with a missile. 2023 is already nuts, although to be fair, this is a carryover from 2022.
Let’s refresh the current mess with Putin. His war on Ukraine has resulted in an untold loss of life for Ukrainian President Zelensky’s people and the Russian armies. Putin has been falsely claiming battle wins, and after Zelensky suggested that Putin might not be alive, he had to offer up high-heeled proof of life. Now, the Kremlin has been forced to answer to Johnson’s allegation, via Axios regarding a BBC interview, that a “jolly,” phone-bound Putin threatened to send a missile his way ahead of the Ukraine invasion:
“He threatened me at one point, and he said, ‘Boris, I don’t want to hurt you but, with a missile, it would only take a minute’ or something like that. Jolly,” Johnson told the [BBC] documentary, “Putin vs. the West,” airing in the U.K. on Monday.
“But I think from the very relaxed tone that he was taking, the sort of air of detachment that he seemed to have, he was just playing along with my attempts to get him to negotiate,” Johnson said.
“Jolly” qualifier be damned, the Kremlin is already pushing back. From The Daily Beast, here’s word from spokesman Dmitry Peskov to the press:
“What Mr. Johnson said is not true, more precisely, it is a lie.” “I know what was discussed during this conversation, and once again I officially repeat: This is a lie,” Peskov continued. “There were no threats of missile strikes. Speaking about the challenges for Russia’s security, President Putin noted that if Ukraine joins NATO, the potential deployment or American missiles at our borders will mean that any missile will reach Moscow in a matter of minutes.”
That’s quite a turn of the tables that the Kremlin spokesperson is asserting, but one can also see that they cannot relish another PR nightmare atop the existing one. Putin is gonna have to hand out more fancy rings to make his supporters (those who still remain, that is) forget about this one.
HBO’s The Last of Usdeviated from its source material in a big way to tell a heartbreaking love story set to the backdrop of a fungal apocalypse in episode three’s “Long Long Time.” And, while we’re all still recovering from that emotionally devastating ending, fans were left with some questions about show-invented storylines for secondary game characters Bill (played by Nick Offerman here) and Frank (Murray Bartlett).
After going on a quick supply run with Joel (Pedro Pascal) and Ellie (Bella Ramsey), audiences were treated to a flashback that introduced Offerman’s eccentric survivalist building his own Infected-free Utopia in a small town somewhere in Northern Massachusetts. Like his videogame counterpart, Bill managed to evade a military-enforced evacuation and use his wealth of knowledge and life experience to create a safe haven for himself. He eventually shared it with Frank, a drifter who became his life partner, but that’s where the similarities between the game and show end.
Gamers never met Frank — while he was still alive, anyway — learning that he left Bill over a disagreement, became infected, and chose to kill himself rather than be turned into a fungal puppet. His relationship with Bill in the game was never really fleshed out although his death clearly affected the stoic loner.
“Long Long Time” expanded their love story, dedicating nearly an entire episode to building a moving Queer romance that has a bittersweet ending but also, a happy one, as far as zombie apocalypses go. The show spent time with the pair as they met, fell in love, built a home, and grew old together. After a significant time jump, the episode ends with the pair deciding to die together, a choice Frank initially makes because he seems to be suffering from a debilitating illness that’s greatly affected his quality of life. Naturally, fans were curious as to exactly what Frank was sick with and, thanks to a recent interview with showrunner Craig Mazin, we’ve got a better idea.
In a chat hosted by the official The Last Of Us podcast, Mazin revealed Frank had either MS (multiple sclerosis) or ALS (amyotrophic lateral sclerosis, also known as motor neurone disease), though he admitted the writers didn’t want to assign a specific label to the illness. There are enough hints throughout the episode to prove Frank was living with either MS or ALS though, including his later wheelchair-bound state and weight loss. Both diseases damage a person’s nervous system which can lead to problems with movement and speech — hence why Frank could no longer walk on his own or paint like he used to. Frank also alludes to the fact that, even if the fungal outbreak never happened, there still wouldn’t be a way to fight his illness because the world before hadn’t found a cure.
“This happens, it happens so commonly and yet, so rarely,” Mazin said of Frank’s deteriorating state. “As people get older on screen, they tend to be fully healthy until the heart attack staggers them out of nowhere. That does happen but for the majority of people, there is a decline. We thought it was really interesting to think, ‘Look, Bill is older and Frank can literally run circles around him, he’s healthier, Bill gets shot.’ And then we jump ahead a number of years and it’s Frank who’s been brought low by this disease and there’s nothing they can do about it. But you can see how Bill is doing his best to caretake Frank the way that Frank would caretake Bill.”
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