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Note: The following contains spoilers for Episode 2 of Season 2 of “The Last of Us.”
The recent episode of HBO’s “The Last of Us” left audiences in shock as the character Joel, portrayed by Pedro Pascal, met a tragic end at the hands of Abby (Kaitlyn Dever) and her ex-Firefly companions. This pivotal moment is rooted in the storyline of the video game sequel, “The Last of Us: Part II,” where Abby reveals her father was the doctor whose life Joel claimed during his desperate effort to protect Ellie from a life-saving operation aimed at generating a vaccine for the lethal Cordyceps infection.
This adaptation diverges from the game by presenting this crucial backstory earlier than anticipated and shifts Joel’s patrol partnership from Tommy (Gabriel Luna) to Dina (Isabela Merced), who stays behind to support the community in Jackson against a zombie menace.
Joel’s death happening at this early stage of the season, with five episodes remaining, surprised many viewers. In discussions about this decision, executive producers Craig Mazin and Neil Druckmann disclosed they briefly toyed with the idea of postponing his demise, but ultimately, that idea did not gain traction.
Mazin commented, “Some might have thought we were doing it purely for shock value. That’s not our style. Others speculated we’d save it for the season finale since Pedro Pascal’s presence is highly valued.” However, he clarified that keeping Joel alive was never a consideration; his death was an integral part of the narrative from the outset.
“When I first spoke to Pedro over Zoom, I made it clear that he would be portraying a character whose fate was sealed. That understanding is intrinsic to our story,” he added.
What influenced the decision to modify patrol partnerships in Episode 2?
Druckmann: Several factors contributed to that choice. We aimed to emphasize what was at stake for Jackson, which becomes increasingly relevant later in the season. Involving Tommy in the battle against the infected made sense because he’s a familiar character to the audience.
Additionally, we wanted to deepen the audience’s understanding of Dina’s relationship with Joel, which is minimally explored in the game. This allowed us to illustrate their connection, particularly as the scene culminates in Joel’s harrowing experience. We also aimed to flesh out Jesse’s character more than in the original game, showcasing his evolving relationship with Ellie as well.
Regarding the reimagined scene with Ellie and Dina in Eugene’s weed den, what were the considerations behind its exclusion?
Mazin: While we might have altered the location, the essence of the scene remains. The pacing in the show differs markedly from the game, and we often adapt scene placements based on narrative flow rather than strict adherence to the original order. For instance, Ellie and Dina’s kiss occurs much later in the game’s timeline, but we wanted to weave their relationship more organically into the show.
Druckmann: It’s important to note that the pacing of the game and TV series varies greatly. Our storytelling must adapt to the medium, using different techniques to maintain engagement.
How did you approach the modifications made to the scene depicting Joel’s death?
Mazin: Some changes were scripted to provide a deeper introduction to Abby, facilitating a more meaningful encounter between her and Joel. The emotional depth of the scene necessitated a nuanced performance from both Kaitlyn and Pedro, who inherently understood the gravity of their characters’ interactions. Our director, Mark Mylod, ensured the cast could authentically connect during such a poignant moment.
How did you decide how much of the violence to depict during Joel’s death?
Mazin: Editing played a crucial role in determining how to represent the violence. We aimed to convey the emotional weight of the moment without resorting to excessive brutality. It’s pivotal to capture the sadness of the situation rather than merely showcasing physical violence. The scene is meant to expose the emotional turmoil experienced by both Ellie and Mel, without leaning into gratuitous displays of aggression.
Druckmann: The heart of this story grapples with the concept of love and loss. Witnessing such violence against someone you care about transforms how you perceive right and wrong, enriching the narrative complexity.
Regarding the timing of Joel’s death, why did you opt to feature it in Episode 2?
Druckmann: Every creative choice is meticulously examined. Delaying Joel’s death would prolong the narrative without payoff, so we decided it was crucial to advance the plot as soon as possible. His death serves as a catalyst for the events that follow, disrupting the dynamics established in Jackson and among the characters.
Mazin: Ultimately, it was essential to determine where in the story the moment would have the most profound impact. This is not about shock; it’s about narrative necessity. While it feels premature, it aligns with our overall vision for the series.
Reflecting on the moral dilemmas presented, would you react similarly if placed in Abby’s situation?
Mazin: The context is critical. Joel’s actions stem from a deeply personal place, driven by love to save someone. Abby’s approach is fueled by a desire for vengeance and justice, which complicates the morality of the situation. This juxtaposition will be an ongoing theme in the series.
Druckmann: The discussion centralizes around whether the retribution fits the crime. This story probes how the decisions we make in the name of love can lead to unforeseen consequences.
Mazin: When we first meet Abby, she is portrayed as a good person driven to darkness through her experiences, further illustrating the complexity behind each character’s motivations and actions.
Can you elaborate on the challenges of producing the battle scene in Jackson?
Mazin: A major focus was on practical effects. Collaborating with WETA and ILP, we ensured a seamless blend of real action and visual effects. This scene involved considerable coordination for prosthetics, controlled explosions, and stunts, all of which required careful planning to minimize risk and ensure quality.
Druckmann: It was vital to encapsulate the stakes involved for Jackson and to raise complex questions regarding morality and consequence stemming from the aftermath of Joel’s death and the chaos that ensued.
New episodes of “The Last of Us” air Sundays at 9 p.m. ET/PT on HBO and are available for streaming on Max.
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www.thewrap.com