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Can The Last of Us Survive Its Own Success?

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That’s what sets us apart from raiders and killers.” However, another voice argues that if there are no repercussions for targeting Jackson, they will continue to be an easy prey for hostile outsiders.

The series “The Last of Us” explores the struggle between individual and society, with the first season set in a post-apocalyptic America overrun by Cordyceps, to question the morality of survival. At its core is the heartwarming bond between Joel (Pedro Pascal), a ruthless smuggler mourning his lost daughter, and Ellie (Bella Ramsey), a 14-year-old immune girl he was tasked by a pro-democratic group called the Fireflies to transport. However, upon reaching their destination, Joel learns that the Fireflies would sacrifice Ellie for their research. To protect her, he fights off several Firefly soldiers and a doctor, thereby thwarting any potential cure that could have saved mankind. Far from love being salvific, it evolved into a self-serving act so harmful that it intensified the agony of a world in distress. The questionable nature of Joel’s decision, made without Ellie’s consent and with subsequent deception, was infuriating. Consequently, it is understandable that the second season, which pales in comparison to the show’s rich thematic content, focuses on the concept of justice in “The Last of Us.

Beginning April 13, the season starts with a flashback showing that as they trekked back home towards Joel’s brother Tommy (Gabriel Luna) in Jackson, Joel intensified the falsehoods he told Ellie. He asserted that numerous immune individuals were already present at the lab; that the Fireflies had abandoned their search for a cure by then. Simultaneously, in the artificial jungle of Salt Lake City, a fresh character named Abby (Kaitlyn Dever) pledges revenge for the fallen Fireflies. “When we eliminate him,” she declares, speaking about Joel, “we’ll do it gradually.

Five years on, Joel continues to thrive. He and Ellie have established a home in Jackson, though a disagreement between them has caused her to reside in the garage. At 19, Ellie is part of the group tasked with safeguarding the settlement’s boundaries from roaming clickers. She’s close with Dina (Isabela Merced), who recently ended her relationship with Jesse (Young Mazino from BEEF) and seems to be hinting at more than friendship towards Ellie. As the gap between father figure and daughter grows, Joel makes a move that no TV character has ever felt as crucial—he seeks counseling. However, the only therapist in Jackson, played by Catherine O’Hara, harbors her own issues with him.

I can’t disclose much more about this season without breaking HBO’s strict spoiler policy. However, rest assured that Jackson’s personal issues won’t be the only thing on our characters’ minds for long. An exciting journey awaits them! As for Joel and Abby, they find themselves entangled in a complex conflict between two militant factions. One is led by Jeffrey Wright’s character, Isaac Dixon, whose motives and intentions are not entirely clear. The war between these groups is brutal, leaving many questions about justice, vengeance, forgiveness, and the nature of redemption. Is revenge ever justified? Or should we always choose to forgive and move on? If someone has done something truly heinous, do they deserve to suffer or to die? And what value is there in protecting the ones you love, even if it means causing harm to others?

At its peak, creators Craig Mazin and Neil Druckmann appear deeply concerned about whether Ellie, frequently compared to Joel, might repeat his perilous ethical mistakes. However, such instances are scarce. Generally, the series’ perspective on justice—a theme it consistently emphasizes—can be encapsulated by the well-known saying (frequently credited to Gandhi) “an eye for an eye makes the whole world blind.

In several aspects, Season 2 seems thin and unfulfilling compared to the first one. This could be due to the fact that it only adapts part of The Last of Us Part II game, whereas the entire original game was covered in the nine-episode first season. As a result, the story feels stretched too thin, and character development for new characters like Abby and Isaac is limited. Unlike the first season which had several captivating standalone episodes that expanded and enriched the show’s universe, this second installment appears to be more routine; one episode even resembles a weak imitation of those memorable moments. Additionally, the finale ends so abruptly and unsatisfyingly that it took me some time to realize it was indeed the end. In this regard, The Last of Us’ second season resembles Squid Game’s slower-paced second season, which concludes as the action is heating up, giving the impression of an attempt to extract maximum content from a global phenomenon. Both shows risk becoming casualties of their own success.

Despite all the acclaim The Last of Us has garnered, it’s never been perfect, not even close to a masterpiece in art. The acting is superb, and the production design is jaw-dropping. These aspects continue to be the show’s strongest points in Season 2, although the thin plot sometimes limits the visual creativity. Merced (Alien: Romulus) adds an appealing touch, but I wish we got more of Dever, Wright, and O’Hara. The show still boasts the best video-game adaptation on TV, but it’s not accurate to say that it completely surpasses its source material. There’s a void where deep insights, complexity, and well-developed side characters should be. In their place, we get lengthy zombie fight sequences and extended scenes of people traversing beautifully decayed environments. During these moments, the show feels like watching someone play a video game.

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2025-04-07 19:06

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