The concept of legitimate films and television inspired by video games was the butt of jokes a decade ago, but it's now become a reality for Hollywood’s future. It is easy to forget that comic book films were met with the same skepticism before The Dark Knight and Spider-Man 2 showcased their potential, which invited an audience that wasn’t solely composed of devoted fans. With Hollywood’s love affair with superheroes now in decline, video games offer intellectual property and established fanbases. Studios are often more willing to make a hasty bet on an existing property than they would be to spend less on something original.
Within the realm of modern video games, The Last of Us was an anomaly, as the game’s storyline, creative worldbuilding, and strong characterization were considered cinematic. Even if Hollywood had proven itself capable of making video game adaptations that were “not embarrassing,” such as Uncharted or Sonic the Hedgehog, an interpretation of The Last of Us needed to show the best of what the medium had to offer. Craig Mazin, the showrunner behind HBO’s devastating historical miniseries Chernobyl, successfully crafted a first season that elicited the same populist appeal and critical acclaim as previous HBO hits like Game of Thrones and True Detective.
The first season of The Last of Us was an impressive piece of craftsmanship, as it managed to create a terrifying pandemic-themed survival story that didn’t feel repetitive of previous successes within the zombie genre. Although the bleak world of The Last of Us was often brutal, the tender “lone wolf and cub” relationship between Joel Miller (Pedro Pascal) and Ellie (Bella Ramsey) was surprisingly humane. However, The Last of Us had the benefit of adapting a straightforward game, as the “quest” structure gave it room for creative deviations.
The elements that made The Last of Us: Part II a compelling video game are what doomed its second season. In the game, the abrupt appearance by the enigmatic outsider Abby created mystery, as players were left to speculate on why she inflicted violence upon the protagonists. However, a series that has already spread itself thinly with a robust supporting capacity couldn’t afford to add such a key cast member without justification, so a change to provide Abby’s backstory upfront was made. Kaitlyn Dever is the most consistent performer of the season, but Abby is used as a MacGuffin whose role is to shake up the status quo.
The most controversial aspect of The Last of Us: Part II was the decision to kill Joel within the first act of the story, which forced viewers to play as Ellie as she dealt with her grief. Even if the show’s foreshadowing wasn’t particularly subtle, even for those that were familiar with what was to come, the brutal manner in which Pascal’s version of Joel is executed is just as nauseating as any classic HBO death, such Adriana in The Sopranos, or the newlywed Robb Stark in Game of Thrones. The episode in question, “Through the Valley,” was helmed by Mark Mylod, a talented visual stylist whose credits include several episodes of Succession, as well as the dark comedy The Menu.
The Last of Us doesn’t have the propulsive plotting to continue the momentum that came with removing such a beloved member of the cast. While the psychological trauma and flirtation with revenge that Ellie experienced may have been revolutionary for a narrative video game, its territory has been done much better in other vigilante, thriller, and post-apocalyptic films. The shock of Joel’s death is also a reminder of why it was so controversial, as The Last of Us’ energy is ground to a halt upon Pascal’s exit. The self-hating, wounded outsider that Pascal rendered had provided an interesting perspective that Ramsey never could’ve replaced.
To criticize Ramsey, who has identified as non-binary, may be unfair, as their performance in Lena Dunham’s underrated coming-of-age dramedy Catherine Called Birdy was surprisingly dynamic for such a young star. The issue is that Ellie is a frustrating character whose short-sighted decision-making process is aggravating, as it doesn’t give the viewer access to be involved in the story like they were in the game. This isn’t helped by the restraint that The Last of Us has shown in the development of Ellie’s insight. Outside of “Beyond the Valley,” the strongest episode of the second season is “The Price,” a flashback that allowed Pascal to return for an extended guest role.
The dearth of charisma in The Last of Us season two is exemplified by the brief appearance of side characters, whose involvement in the core narrative are frustratingly opaque. Jeffrey Wright’s role as a militant leader of the Washington Liberation Front resistance movement is captivating, but is only incorporated as to explain the place of Abby’s upbringing. Similarly, Catherine O’Hara’s rare dramatic turn as the cynical therapist Gail is central to some of Pascal’s greatest scenes, but becomes less relevant upon his demise.
An excuse could be made that the lack of conclusion in The Last of Us is intentional, as the upcoming third season will have room to move towards a more satisfying resolution. However, this leniency should only be offered to shows like The Bear or The Pitt, which are capable of turning around a new season within a reasonable time period. There was a three-year gap in between seasons of The Last of Us, and if a third season is released in 2028, it’s more challenging to give Mazin the benefit of the doubt.