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It might have taken ages for Peacemaker Season 2 to finally get good, but now that the ball’s rolling, it has quickly generated enough speed to carry right through into the finale.

Watching Task really is an exercise in being put through the wringer. Here are a bunch of people who are mostly well-intentioned but all deeply traumatised, trapped in a situation beyond their control that just keeps escalating.

I’ve been waiting ages for Peacemaker Season 2 to really get going. I thought the process might be incremental, but in Episode 6, it happens all at once.

At this point, I’ve given up on my quaint hope that anyone in Task doesn’t have a deeply traumatic personal backstory. It’s a waste of time.

Peacemaker has spent most of Season 2 in the grip of a holding pattern, one that is very funny and silly in the moment but has largely only achieved reiterating its clutch of underlying character ideas (you’ll notice that there’s no real overarching plot or villain this season).

If the first episode of Brad Ingelsby’s Task was about a crime, Episode 2 is about all the other complications and consequences spilling out from it.

The pacing of Peacemaker Season 2 is a little weird, right? Every episode seems like filler, setting up the next key moment, which never seems to arrive when you think it will.

With some TV shows, you can just tell they’re good. I don’t mean “decent”, either – I mean properly, prestige.

The more it goes on, the more it seems like Peacemaker Season 2 is pretty specifically about Chris Smith’s relationship with Emilia Harcourt.

For a comic book show, Peacemaker is becoming surprisingly character-driven in Season 2, and for such a funny comedy, it’s also deeply sad at its core.

Peacemaker is back for Season 2, and not just back, but back into a new DC Universe.

The Last of Us already peaked in Season 2. It was in the penultimate episode where some minor storytelling changes improbably improved the original version.

I’m one of those insufferable fans of The Last of Us Part II who thinks it’s a work of towering genius, and I’ve done nothing throughout these recaps but moan about all the ways in which Season 2 of the HBO adaptation has made changes to it.

It was always going to be difficult to adapt The Last of Us Part II, which is a game that relies on the fundamental expectations of video games as a medium to tell a pretty complex story about grief, revenge, and various other attendant matters, none of them particularly positive.

The Last of Us, as a game and a TV show, is bleak to an extent that borders on parodical, like a social experiment designed to psychologically break huge swathes of people with their so-called entertainment.

There's usually a calm before a storm, but The Last of Us Season 2 provided enough storm in its previous outing that everyone spends Episode 3 reeling from it.

Only rarely will you see pre-release hype for a single hour of television as vigorous as what HBO was pushing for "Through the Valley".

The reason why The Last of Us worked as a live-action video game adaptation is largely because it knew it couldn’t just adapt the game directly.