The second season of The Last of Us is currently airing on HBO, with new episodes released every Sunday night. Kyle Orland, a gamer, and Andrew Cunningham, who is not, will be providing commentary following each episode. Please note that this discussion contains substantial spoilers, so viewers are advised to watch the episode before reading.
Kyle: The transition from a serene shot of Pedro Pascal’s character at the close of the previous episode to a flashback featuring a young Joel Miller and his brother is quite striking. It’s an interesting choice that deliberately plays with the audience’s expectations.
In terms of the opening flashback, it seems to convey a message about the generational trauma Joel’s family experienced, suggesting that his past shaped his affection for Ellie. However, the connection from being mistreated by his father to his later decisions regarding Ellie feels tenuous.
Andrew: I didn’t find the opening flashback or Joel’s cameo at the end of the last episode to be problematic. The show effectively signals “here comes Joel!” and then “look, it’s Joel!” in a way that resonates with viewers. Perhaps I’m biased by Tony Dalton’s portrayal of Joel’s father, having mostly seen him as the charismatic Lalo Salamanca from Better Call Saul. Yet, I agree that the connection between these two narrative elements could be stronger; without the flashback, Joel’s sentiment of wanting Ellie to do better feels out of place.
Nevertheless, I’m excited that Joel is back in the story! This episode presents Joel’s dual nature: he’s both horrendous for the choices he makes—such as sacrificing a group of Fireflies to save Ellie—and incredibly endearing, especially when he enthusiastically discusses his love for using tools like a Dremel.
Ultimately, this episode doesn’t introduce any new information that viewers couldn’t have pieced together from previous content. As someone who hasn’t played the games, I felt I grasped the essentials of Joel and Ellie’s strained relationship without needing to see every development. While it’s natural to wish for more depth in their connection, this dynamic is a significant draw for many fans of the series.
Kyle: Celebrating Joel Week is definitely justified. My initial skepticism stems from realizing how much his absence in this season limits the narrative scope. Much of this episode fills in gaps that felt obvious, and I would have appreciated a full exploration of Joel and Ellie’s journey together, with perhaps some zombie encounters or an overarching antagonist thrown in. Their evolving relationship deserves more than brief flashbacks.
Andrew: That’s a fair point, and it highlights a critical flaw in The Last of Us Part 2—introducing an underdeveloped antagonist who ends up killing Joel feels like a cheap narrative device. Yes, it shocks viewers who didn’t see it coming, but it begs the question of why the creators would choose to continue the story without such a pivotal character.
While I don’t dislike this season and have enjoyed some aspects, Ellie sometimes comes across as impulsive to the point of immaturity, making it hard to root for her. Flashbacks that occur shortly after the first season compel a viewer to wonder whether this could have been the central narrative instead.
Kyle: In the realm of video games, I see the intent behind avoiding a sequel that is merely a rehash of the original. However, I feel The Last of Us Part 2 has diverged too sharply from what made the first game compelling.
This week’s episode features a recreation of one of my favorite moments from the second game, where Ellie joyfully explores a ruined science museum. This sense of wonder is a refreshing contrast to the action-heavy moments of the game, and I wished it could have been extended further in the flashback.
Andrew: I did feel that Ellie’s portrayal in that scene skewed younger than her 16 years; her playful noises and antics felt a bit juvenile. However, for a child who has experienced a tumultuous and truncated childhood, seeing an Apollo module could evoke immense curiosity. The visuals in the scene beautifully capture that sentiment.
The most poignant moments for me were those subtle interactions between scenes rather than the explicitly told events we’ve previously seen hinted at in earlier episodes. The repeated assertions from Joel that they could engage in these enjoyable activities more often highlight that they actually do not spend nearly enough quality time together.
Joel, in his attempts to connect with Ellie, is a bit more thoughtful than his father was, yet there remains a bittersweet quality to his efforts, indicating a gap he cannot fully bridge.
Kyle: I find no issue with a character exhibiting signs of arrested development due to having missed out on the typical milestones of a “normal” childhood in a pre-apocalyptic world.
However, Joel’s clumsiness as he attempts to connect with Ellie can sometimes overshadow his own tragic past, especially the trauma from losing his own daughter in the series’ first season. The shadow of that loss often seems to fade in the narrative when it should be a continual influence on his character.
Yet, moments arise, such as when Joel guides Gail’s afflicted husband to his end, reflecting a deeper emotional struggle. His encouragement to remember his loved one suggests that he is drawing on memories of his own daughter, adding complexity to his character.
Andrew: Joel’s actions are understandable—if not justifiable—because he wrestles with the fear of losing another daughter figure. After rewatching the pilot episode recently, I found that scene to remain an exceptionally powerful depiction of raw emotion.
However, the narrative must be careful in balancing the healthy dynamics of Joel and Ellie’s relationship against the unhealthy aspects of Joel placing Ellie in the role of his lost daughter. This “found family” dynamic works because they both seek connection, yet hearing Joel affectionately call Ellie “baby girl” can feel somewhat unsettling.
Initially, I thought Joel was right to be wary of Gail’s husband, but then I realized my hesitation was influenced by Joe Pantoliano’s past roles, particularly as a character known for betrayal in The Matrix. Our perceptions can be so influenced by previous portrayals.
Kyle: I appreciated Ellie challenging Joel for lying to her and Gail about his involvement in the killings; it reflects significant character growth. This nicely leads into the critical moment of confrontation depicted in The Porch Scene, where Ellie ultimately faces Joel regarding his breaches of trust.
While I’m not fond of the earlier misdirection regarding this pivotal scene, the adaptation captures the emotional gravity of the moment effectively. However, the pacing feels rushed in comparison to the game, where these flashbacks are more spaced out, leading to a seemingly hasty transition from “museum fun” to the impending confrontation.
Andrew: Exactly! Video game models don’t require payment for every scene, but Pedro Pascal certainly has other engagements to consider!
Kyle: Indeed, that might factor into the pacing. The current adaptation is stretching the events of “Part 2” across two seasons, and while some material has been omitted, it appears that excessive filler has sometimes undermined character development.
Andrew: The episode concludes by returning to the central storyline, with Ellie going back to the abandoned theater where she and Dina have been staying. I anticipate the upcoming episodes to explore non-Joel characters navigating conflicts between WLF forces and local cult groups, accompanied by typical elements of villain monologuing, zombie hordes, and perhaps additional character deaths. This standard formula seems likely.
However, what stands out is the absence of detailed lore, such as the intricate process of refurbishing a guitar. This reminds viewers that as they adjust to a narrative without Joel, his presence is still felt strongly, which makes his absence all the more poignant.
