Heh; here I was thinking that the mad scientist was the well-worn trope.

I think it's kind of disappointing for his character—I mean, after his attempt to reform I'm disappointed in him as a person—but in addition to that I also think it's just a boring move for the show *and* one that takes away from Aida, who was more interesting when she was acting on her own.

Yeah, this made no sense and pissed me off. If it was just the senator on the chopper then maybe I could understand his decision, but those guys were just trying to murder him even after she told them not to. Complete disconnect; just bad writing.

Weak episode. Flat writing throughout. And Radcliffe's turn was disappointingly rote and exposition-heavy. Plus, doesn't it make Aida a lot less interesting if Radcliffe is the real bad guy pulling her strings?

At the time, I was hopeful that it represented a swing back in the direction of hand-drawn animation, but it seems to have been a one-off.

It sounds like he's saying that the music generally isn't memorable outside of the obvious big themes. I would strongly disagree, though, having pretty much memorized a lot of stuff like Cloud City and the Battle of Hoth.

Unless I am very much mistaken, they updated the game with those floor symbols to mark secret locations, a change that I was and am against. I backed the game and played through before that update, and it was much better to find things through environmental visual cues alone.

There was something really clunky about this whole episode, and the over-the-top production value and manpower of everyone's belated gift for Jess made the ending ridiculously sappy, which was just extra awkward.

Always nice to see Mary Lynn Rajskub again. Badass Boyle was a lot of fun.

I guess that's fair, but it's unfortunately not the thing that Paul cited as his reason for leaving.

Yeah, I can see that! The way Eva used "Fly Me to the Moon" made a really big impression on me when I was a teen.

This episode was slightly marred for me by how little I care for Susan and by the failure to point out Paul's hypocrisy: He can't bear to face the possibility that he one day might not see Curtis again, so his solution is to leave him—and not see him again? The truth is that he's just a coward, and he needed to be…

Oh, I get it! The aliens are the people of Earth. (We are the walking dead.)

I suppose so. Making a sequel means sacrificing some of what made the ending special, and it seems like they understand that and want to assure us that they wouldn't be doing it if they didn't have a damned good story to tell.

As soon as the quality control center was put under security lockdown, I understood that Ford's narrative, Journey Into Night, was one for the humans, not the hosts.

Okay, but… I don't care. I'm not arguing for my interpretation of the ending because, again, I like that it's ambiguous and we can have different interpretations. I'm just arguing that it's sad that we won't be able to do that in the future and that the ending will be retroactively diminished by this.

During the panel, they shared a track from Gustavo Santaolalla's new soundtrack for the sequel: https://www.youtube.com/wat…

On the contrary, everything I see here suggests that my personal interpretation will be upheld. What I'm miffed at is the loss of ambiguity, just as I said. I don't want any interpretation or speculation to be confirmed, including my own.

"Kiddo" sounds like they are the father/daughter duo you could see them becoming throughout the first game. At the very least, I consider the fact that they are together, in the same place, to be more information than I wanted. They weren't "bound" to be in each other's lives; she could have rejected him and said…

I agree that his reassurances have been heartening. He does seem to appreciate the retroactive effect that making a sequel has to an extent that they wouldn't be doing it if it wasn't a story that really deserved to be told.