HBO’s “The Last of Us” hits a raw nerve with its latest offering, delivering what might be the most emotionally jarring episode of Season 2 thus far. Like a carefully crafted cocktail of hope and horror, the fourth episode serves up equal parts tender romance and gut-wrenching brutality — and somehow makes it all work.
Welcome to Seattle, or what’s left of it. The war-torn cityscape serves as both backdrop and metaphor as Ellie and Dina navigate their blossoming relationship amid the ruins of civilization. It’s messy, beautiful, and terrifying — rather like love itself in this broken world.
Jeffrey Wright (fresh off his acclaimed turn in “American Fiction”) makes his series debut as Isaac, and good lord, what an entrance. Leading the Washington Liberation Front (WLF), Wright’s performance is pure nightmare fuel wrapped in casual charm. There’s this moment — during what can only be described as a masterclass in psychological torture — where Isaac reminisces about cooking for dates while preparing to interrogate a prisoner. The juxtaposition shouldn’t work, but Wright’s velvet-smooth delivery makes it absolutely chilling.
But let’s talk about that acoustic cover of a-ha’s “Take on Me,” shall we?
Bella Ramsey’s Ellie, performing for Isabela Merced’s Dina, transforms the ’80s pop hit into something achingly intimate. The scene, lifted from the game but reimagined here, hits differently on screen. It’s not just about young love — it’s about art surviving apocalypse, about beauty persisting despite everything.
Speaking of which — Merced’s recent comments to Deadline about the relationship’s “slow burn” development feel particularly relevant. “You don’t really get that a lot in sapphic content,” she noted, addressing the thoughtful pacing of their romance. In an era where streaming platforms often rush through LGBTQ+ storylines, this measured approach feels refreshingly authentic.
The episode reaches its emotional peak through a double-whammy of revelations: Ellie’s immunity and Dina’s pregnancy. These confessions, shared during a night of raw vulnerability, fundamentally alter their dynamic. When Ellie declares, “I would die for you,” the weight of Joel’s recent sacrifice hangs heavy in the air — unspoken but unmistakable.
Props to the production design team for their vision of Seattle. From a haunting radio station (complete with grim human decorations) to claustrophobic subway tunnels teeming with infected, every location tells its own story of collapse and survival. The attention to detail is remarkable — right down to the moss patterns on abandoned vehicles that perfectly capture the Pacific Northwest’s perpetual dampness.
Sure, questions linger about the season’s pacing. Seven episodes isn’t much runway for such an ambitious narrative, and some viewers might worry about maintaining character depth while hitting crucial plot points. The notable absence of Abby — Joel’s killer and the target of Ellie’s vengeful quest — creates an interesting tension, though possibly at the cost of narrative momentum.
Yet somehow, despite these potential hurdles, the episode succeeds brilliantly at its core mission: showing us exactly what Ellie stands to gain — and lose — in her relentless pursuit of revenge. That final shot of Ellie and Dina’s joined hands against Seattle’s broken skyline? It’s hope and doom wrapped into one perfect visual metaphor.
In a television landscape increasingly cluttered with post-apocalyptic tales, “The Last of Us” continues to distinguish itself by remembering that even in humanity’s darkest hour, there’s still room for a love song.
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