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‘The Last of Us’ director on Ellie and Dina’s relationship: ‘This is not just a crush’

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This story contains spoilers for “Day One,” Episode 4 of “The Last of Us” Season 2.

One of the first places Ellie and Dina explore when they reach Seattle is Capitol Hill.

Dina, portrayed by Isabela Merced, queries curiously, ‘Why are there so many rainbows?’ as they ride their horses through a forlorn district adorned with frayed LGBTQ+ Pride banners.

I’m not sure,” Bella Ramsey’s Ellie says, glancing at the mural of a rainbow heart, “but perhaps everyone depicted there was an optimist.

The upcoming episode of “The Last of Us” on Sunday offers a glimpse into the development of Ellie and Dina’s relationship. They’ve been tiptoeing around one another, both physically and emotionally, since their kiss in the first episode which some viewers felt was overplayed as mere drunkenness. (However, others saw it as more than just friendly gestures.)

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In a natural and easy-to-read manner, The main character of HBO’s post-apocalyptic drama stated that filming Season 2 was significantly tougher, yet it provided valuable insights into their own personality.

However, following intense ordeals involving an armed militia and a mob of infected, as well as sharing intimate details about themselves, the pair ultimately finds each other and celebrate their relationship by spending an intimate moment together in “Day One,” the fourth episode from the second season of the HBO post-apocalyptic drama series.

During a recent video call, Kate Herron, the director of the episode, expressed that they intended for the audience to feel extremely anxious right from the beginning of that particular scene until the kiss. Prior to this kiss, Dina is seen holding Ellie at gunpoint, believing she may have to kill her not-so-ordinary girlfriend after being bitten by a fungal zombie. Despite questioning whether viewers might get upset about the alterations in Ellie and Dina’s relationship compared to the game, Herron was pleased with how showrunner Craig Mazin moved this significant moment to later in the series. She feels it carries more emotional impact and surprise since not everyone watching would be familiar with their romantic connection from the game.

Herron enthusiastically identifies as an ardent admirer of “The Last of Us” video game series. She immersed herself in playing these games one after another shortly following her acquisition of a PlayStation console amid the COVID-19 confinement periods.

She finds it incredibly remarkable, both in its narrative capabilities and its commentary on empathy within video games. She believes it ranks among the finest tales ever crafted about empathy. In fact, she couldn’t get enough of it.

The filmmaker from Britain is accustomed to working on big franchise productions. She skillfully portrays queer characters from these well-known series in unique ways. Herron served as director and executive producer for Marvel Studios’ series “Loki,” where the trickster deity Loki openly declared his bisexuality during a dialogue with Sylvie. Additionally, she collaborated on a 2024 episode of the British science fiction classic “Doctor Who,” in which the main character, the Time Lord, develops romantic feelings for a bounty hunter.

Herron expresses gratitude by saying, “It’s a great honor to share these unique tales.” He acknowledges that these types of stories are seldom seen in mainstream popular culture. As a result, he feels both a sense of responsibility and immense gratitude for the opportunity to narrate such stories.

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In Episode 3, the actor delves into the consequences following Joel’s demise, shares insights on the development of the heartfelt farewell scene between Tommy, and explains why he strives to steer clear of clichéd character portrayals.

Upon accepting the “The Last of Us” job, she wasn’t sure which episode she would be directing initially. However, she believes her frequent discussions with co-creators Neil Druckmann and Mazin regarding Ellie and Dina may have played a role in securing the assignment for her.

The queer filmmaker expressed that they hadn’t requested this specific episode, but instead found themselves given the opportunity. However, upon reading the script, their enthusiasm erupted as the narrative resonated deeply with them. They believed that if it touched them emotionally, it would undoubtedly impact many others in a similar way.

She notes that the narrative and setting of ‘The Last of Us’ are quite distressing. However, what makes this particular episode stand out is that, for an hour, we get to witness Ellie and Dina enjoying their time together, which brings a sense of happiness amidst the bleakness.

In a condensed and simplified exchange, Herron talks about Ellie and Dina’s bond, filming the “Take on Me” sequence, and his opportunity to explore horror themes.

What did you think about the way Ellie and Dina’s relationship developed throughout the season up until now?

Although I haven’t experienced an apocalypse like theirs, I found their situation quite relatable. Am I on their mind? Or not? Are they gay or straight? Or perhaps something else? Many of my friends and I have had similar experiences. However, what truly matters to me is ensuring the story feels genuine and that their love story is well-deserved. We aimed for the moment in the movie theater to be a memorable one. For me, it was about maintaining the flirtation while also questioning if things would progress romantically or not. It often feels this way when you first start falling for someone, and I always tried to follow their emotional journey throughout the story.

In the heart-pounding chaos of a terrifying fungal zombie apocalypse, I find it refreshingly poignant that even in such dire circumstances, young characters are given the chance to navigate the universal journey of self-discovery, as they grapple with understanding the complex emotions they harbor for their friends.

Or, more casually:

Amidst the thrilling terror of a mushroom-induced zombie apocalypse, it’s nice to see young characters grappling with the universal coming-of-age experience of figuring out their feelings for friends.

What makes a good genre story stand out, in my opinion, is the essence it carries beyond its fantastic elements. If you were to strip away everything else from a well-crafted genre tale, what would be left? This question has always intrigued me when crafting episodes. Yes, our characters find themselves in a dire predicament and embark on a sort of revenge mission led by Ellie. However, I aimed to ensure that the love story was more than just two young individuals discovering their affection; it’s about them understanding, “Perhaps, I am falling in love with my friend,” and that carries a deeper meaning. The stories I admire, when they belong to the genre realm, are those that resonate with us on a personal level within their fantastical settings. It’s these elements that truly captivate me.

Their relationship plays out differently on the show than in the game.

This TV episode provides a heartwarming exploration of their relationship. Instead of glossing over their connection, we delve deeper into it, allowing the climactic kiss in the theater to truly resonate. While they’ve shared romantic moments before, there was always an element of uncertainty, as if Dina might have just been enjoying herself or if the kiss lacked genuine meaning. However, this episode dispels those doubts; it becomes clear that their bond carries profound significance. As a member of the LGBTQ+ community, I didn’t expect to find such a meaningful storyline, but when I read the script, my excitement knew no bounds. The narrative felt deeply personal, and I believed that if it touched me, it would resonate with many others as well.

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In order to secure a position on the Disney+ series featuring Tom Hiddleston as the trickster deity, the director recognized that she needed to make an impact. Fortunately, her strategy proved successful.

Capitol Hill in the game provided an interesting backdrop, yet it was enjoyable watching Ellie and Dina traverse their unfamiliar surroundings without acknowledging signs representative of the LGBTQ+ community.

Or:

Exploring Capitol Hill within the game was intriguing, but it added to the fun not recognizing symbols signifying the LGBTQ+ community while Ellie and Dina were roaming the neighborhood.

In our tale, the rainbow flag holds a particular significance for us. However, the two youths in their post-apocalyptic world may not comprehend its meaning or that of Seattle. This little wink and amusement from us as creators adds an enjoyable layer to the narrative.

While we’re crafting a relatable, emotional journey for you, let me clarify that these aren’t contemporary characters. I appreciate their discussion about it because it paves the way for where our story is heading.

You might be wondering if this is all there is regarding the rainbow flag and Seattle. Yet, I hope by a later scene, when she’s singing to him, you may think, “Ah, perhaps this will lead to something romantic.” But remember, we have more in store for you that carries deeper meaning.

Given that you brought up the topic of serenading, could you share some insights into your method for creating the “Take on Me” scene?

In the remarkable way the scripts were crafted, our focus was on capturing the essence of the script itself. That specific scene in the game resonated deeply with me. We filmed various versions of it – some where Ellie was engrossed in the song, others where she was more hesitant. I recall a take where I instructed Bella to avoid eye contact. Though we didn’t use that particular take throughout the scene, it added depth to our exploration and helped us determine what felt most authentic. Initially, it’s a private moment, with Ellie playing guitar and then interrupted. However, when I rewatch it, I can sense the genuine love Dina has for Ellie – it’s not just infatuation or intoxication; it’s a profound emotional bond between them.

It’s crucial to emphasize that these characters are young, and amidst all the chaos, they manage to find moments of romance. Maintaining this delicate balance was a key aspect of our storytelling – ensuring that the threat was always present yet leaving room for them to develop romantic relationships.

It’s also a nice reminder that despite everything, creativity and music can endure.

From the very beginning, when you come across someone who catches your interest, you’ll strive to make an impact on them. This could be through art, music, or even writing stories (like fanfiction), as I once did in an attempt to captivate others. What could possibly be unattractive about showcasing one’s impressive creative talents?

Inquired about obtaining a caterpillar for the set, and was ecstatic when Craig agreed. Since in the game, there’s that stunning backdrop behind Ellie, I desired to create an overgrown garden atmosphere – symbolizing nature reclaiming its dominion – similar to the design aesthetic of “The Last of Us.” However, I wanted this brief instant to evoke a sense of personal space and solitude for the characters. This isolation, I believe, was crucial for them to connect emotionally, and for the moment when she sings to be as powerful and moving as it is in the original.

It’s a big contrast to their moment later in the theater.

I appreciated the way the story unfolded since it felt like a thrilling rollercoaster ride, sharing the subway journey with them. You’re right there with them, and there’s an unusual connection because Dina remains unaware that Ellie is immune. This detail is crucial for the narrative tension. As they enter the theater, a sense of relief washes over you, only to be replaced by renewed apprehension since Ellie is now at risk. The situation becomes even more harrowing because you don’t want Ellie to meet her demise at Dina’s hands. Bella and I discussed this, aiming to keep the audience on edge right up until their kiss – a tension level we considered essential for the story.

As a devoted cinephile, I must say that Dina’s connection with her counterpart in “Take On Me” runs deeper than mere friendship. However, as events unfold between this revelation and their encounter at the theater, I found myself teetering on the edge of anticipation, unsure if they would ultimately become a couple. The challenge was to build tension and drama that would make their kiss feel like a much-needed respite, yet retain an element of surprise.

We also get Dina’s coming out story afterwards.

As a film lover in my 30s, I found that speech incredibly resonant and heartwarming. There are individuals who come out later in life, and I believe stories like these should be shared more often. Hearing about such journeys would have given me the courage I needed if I had seen a character on screen who embodied my feelings. In other words, knowing that someone else felt as I do would have filled me with bravery.

When I initially revealed my identity, I found myself working on the series “Sex Education,” which significantly aided me in understanding my own journey. Since I was able to narrate these tales, I pondered, “these seem to resonate with me, but I need to figure out why.” Growing up, such stories were not common for me. I believe if I had encountered something similar, I would have felt less isolated. As a director, this sense of companionship is crucial for me. If I can create narratives that provide comfort and reduce feelings of solitude, wouldn’t it be worthwhile?

In this tale, it’s not as if they reside in a perfect society where their first kiss is met with universal approval. Instead, they encounter someone who expresses homophobic views. This individual does apologize, but the issue persists. The narrative doesn’t present an idyllic world; it reflects the challenges people face. However, I find it incredibly moving because it allows us to envision their lives and witness their ability to find happiness amidst adversity, which instills hope in me. Even though “The Last of Us” is a grim story set in a harsh world, this episode stands out because we get to see Ellie and Dina sharing a happy moment together for an hour. That’s why we appreciate it so much.

One of my favorite scenes occurs when Dina shares the news of her pregnancy with Ellie, and he responds by saying, “I’m going to become a father.

The script portrayed things as I anticipated, and I’m thrilled about it. I was touched when Ellie learns the news and responds with her immediate enthusiasm, “I’m all in.” They’ve both been through a lot, but this brief moment of respite to talk was much-needed. Remarkably, Craig penned the scene just as I imagined, making that line particularly endearing. It’s such a heartwarming touch.

I’ve had the privilege of being part of significant LGBTQ+ representations in popular series such as “Loki” and “Doctor Who.”

Or:

I’ve been lucky enough to contribute to landmark queer moments across prominent franchises, including “Loki” and “Doctor Who.

For me, it’s truly an honor to be involved in such projects. Each experience has been unique in its own way. “Loki,” for instance, was essentially a love story at heart, and during my interview, I asked if we could explore Loki’s sexuality. Fortunately, the team agreed, and this aspect became a part of our discussions as we crafted the scripts. It’s merely one moment in “Loki.” On the other hand, with “Doctor Who,” I was simply sharing ideas with showrunner Russell Davies, who invited me to write an episode. Given our shared interest in queer representation and romance on television, I proposed a storyline that reflected this, which is how our friendship began. I must admit, I’m quite smitten with romance. As for “The Last of Us,” I wasn’t expecting to get the script, but I did discuss Ellie and Dina quite extensively, so they may have assigned me Episode 4. Needless to say, it’s a tremendous honor to have the opportunity to tell these stories.

What were the moments that excited you when you read the script for this episode?

In a different phrasing: “The Romantic Tale – ‘Take On Me.’ However, what truly intrigued me was the subway scene, as I have an affinity for horror. My aim was to instill fear in others. The initial train compartment they entered was off-kilter and I vividly recall spending time there amidst a multitude of skeletons. It was such an exhilarating moment. Unfortunately, many female characters on TV often don’t get to experience the same level of suspenseful episodes.

In an effort to convey the emotion I experienced while playing the game, let me share our unique twist on that sensation – the palpable anxiety. As I conceived this project, I sought Craig’s approval to incorporate a jump scare using a clicker. He consented, “Go ahead.” While collaborating with a previs artist, we successfully integrated the jump scare, and Craig found it intriguing. Granted, it’s not just jump scares that define horror; tension plays a significant role along with numerous other elements. However, delving into this genre ignited a sense of excitement within me.

An unexpectedly enjoyable moment during production was the surprise inclusion of Josh Peck in the opening scene. Discussions had led us to consider him for the role, and he proved exceptional with his performance. I was also thrilled to replicate Drew Barrymore’s role in “Scream” by featuring Josh as an unexpected presence. The opening scene, featuring Jeffrey Wright, was particularly intriguing, with Wright being one of my favorite actors currently working. Although the scenes we filmed together were intense, it was a pleasure collaborating with him on those parts and being part of that experience. This wasn’t Jeffrey’s first time in the “The Last of Us” universe, so it felt like an immense privilege to contribute to introducing Isaac to TV audiences.

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2025-05-05 05:36

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