The season two finale of HBO’s The Last of Us aired on Sunday night, prompting a discussion between Kyle Orland, who is familiar with the video games, and Andrew Cunningham, who isn’t. Their conversation centers on this concluding episode of the season, which contains significant spoilers—for those wishing to remain unspoiled, it is advisable to watch the episode beforehand.
Kyle: As we move on from last week’s flashback featuring Joel, I found myself momentarily lost in the timeline of “The Present” during the season finale. Ellie is shown grappling with the ease of torturing a despised enemy, eliciting only two vague clues about Abby’s whereabouts: “whale” and “wheel.”
I wouldn’t claim that Ellie’s shift toward a revenge-driven mindset is undeserved. However, this darker, single-minded version of her feels less compelling compared to the character we were introduced to in season one. We embarked on this season with an emotionally charged family drama, only to navigate into a landscape reminiscent of post-apocalyptic Breaking Bad.
Andrew: Comparing this to Breaking Bad suggests a thoughtful transformation, which is contrary to my main concern with the season thus far. The characters act in consistent ways that align with their established personalities. Ellie is impulsive, Dina is infatuated, and Jesse is steadfastly loyal.
However, the shift from the first season’s narrative—where an unlikely duo traverses a ravaged America fueled by the hope of a cure—to this season’s focus on Ellie’s revenge feels like a step down. Even as someone who has been slightly more receptive to this season, it’s disappointing to see the most intriguing character removed, along with the central dynamic that made the story engaging. Whatever follows was likely to feel underwhelming, especially for those familiar with the game’s narrative.
Kyle: I share your sentiments about the sequel for similar reasons. But my main issue with the show is it sometimes feels overly blunt in its character portrayals. For instance, Jesse discovers Dina’s pregnancy, promptly declaring he “can’t die” because of impending fatherhood—a line that felt formulaic and cliched.
Andrew: While I usually resist blaming AI for storytelling missteps, attributing this to artificial intelligence suggests a false notion that predictable television tropes are a new phenomenon. Characters here are merely mimicking familiar archetypes. Despite its high production value and a talented cast, the show, while watchable, often succumbs to mediocrity, which is hardly a compliment.
Kyle: I didn’t mean to suggest literal AI. Consider it a jab aimed at the human writers.
Andrew: I’m trying to diversify my points to avoid dwelling solely on complaints, but I find this episode rife with issues. I did appreciate the visuals of Ellie’s night trek to the abandoned Ferris wheel. I sense there’s a more captivating narrative involving the conflict between the militarized WLF and the cultists happening just out of frame. Yet, from Ellie’s perspective, these groups mainly serve to chase away threats, rescuing her at the last moment.
Kyle: And they facilitate forced philosophical debates. For instance, Jesse rationally opts against an ill-fated rescue attempt of a cultist amidst overwhelming odds, yet Ellie twists this into a critique of Jesse for not saving someone “not belonging to our community.” The odds certainly played a role, but Ellie redirects the focus onto how Joel embodies “my community… beaten to death.” It lacks subtlety.
Andrew: I found that moment frustrating, as Ellie contradicts the collective decision of her community, who have cared for her over the years. She selectively invokes this concept when it suits her narrative, wielding it as a weapon against Joel to justify her own desires. By giving her the final say, the show implicitly supports her perspective on vigilante justice, which viewers are likely inclined to favor, but it feels hollow to me.
Kyle: I was puzzled by Ellie’s brief shipwreck storyline, resulting in her near-execution by furious cultists. She is saved at the last second by an improbable twist in the plot that abruptly halts her execution. Afterwards, she merely boards a boat and moves on to an unrelated storyline. It seems they’re setting the stage for future events, but in this episode, it felt like an unnecessary diversion.
Andrew: I presume the groundwork for the cultists will ultimately pay off, but that payoff has yet to materialize.
Another poignant moment comes when Ellie confronts members of Abby’s group, resulting in her taking the lives of two individuals, including a pregnant woman. As the woman dies, she pleads for Ellie to save her unborn child. This scene seems to convey a message about the futility of vengeance and the cyclical nature of violence—yet, it remains to be seen whether Ellie internalizes any of this.
In her reactions to both the torture scene and the encounter here, Ellie appears repeatedly shocked to discover the collateral damage that her quest for revenge entails beyond just Abby.
Kyle: This scene mirrors its game counterpart, where Ellie discovers the unborn child only after both characters are dead. The added request from the dying woman for Ellie to deliver her baby amplifies the emotional impact on Ellie, yet she barely has time to process this before the plot moves along swiftly.
While it’s understandable that fewer episodes per season have become the norm, the multitude of side stories introduced in this episode—and throughout the season—seem to warrant additional time to properly develop.
Andrew: I was genuinely surprised by what felt like a transitional finale, given that we are only seven episodes in. I understand the challenge of extending a single game into multiple seasons, but the already limited nine-episode first season has been followed by an even shorter second. A return to 13-episode seasons would be welcome.
For those concerned about the Seattle storyline dragging on aimlessly, the cliffhanger ending may not bode well for them. Each day in Seattle has been marked with a “DAY ONE, DAY TWO, etc.” title, creating anticipation for the upcoming season, which will recount these days from Abby’s perspective.
It appears my wish for a more nuanced antagonist has backfired. I cannot say this teaser excites me for season three, especially after discovering later that this episode was the season finale.
Kyle: Indeed, this narrative structure reflects the game’s decision to shift focus to Abby halfway through, though there isn’t an interlude like a season break. The reveal of Abby’s community in a football stadium was a memorable highlight of this episode, in my opinion.
Before that, we witness the expected, tense face-off between Ellie, Jesse, and Tommy, against Abby. After observing it in this adaptation, I felt compelled to rewatch the game version—the translation to screen felt a bit off. The addition of Ellie’s desperate screams and the gunshot before the abrupt cut to Abby’s perspective contributed to an escalated dramatization that seems to aim for cliffhangers to keep audiences engaged.
Andrew: As we wrap up, let’s revisit our different perspectives—me as a viewer and you as someone familiar with the games. I have more criticisms than commendations to share at the season’s end. Nonetheless, many elements appeal to me—the fictional universe remains engaging, and Bella Ramsey’s portrayal of Ellie stands out even in light of the season’s weaker material.
However, my fundamental issues—beginning with Joel’s demise and Ellie’s single-minded vengeance arc—stem from early storytelling decisions made during the development of The Last of Us Part 2. Typically, adaptations face the critique of straying too far from the source material, yet here it seems the show suffers from being overly faithful to an underwhelming narrative. Would you say that is an accurate assessment, or am I overlooking something?
Kyle: I would argue that the show’s structural dilemmas primarily arise from the game’s pivot from a “buddy adventure” to a revenge narrative, as we’ve discussed extensively. Yet many of the specific issues of pacing, character development, and flow feel exacerbated by choices made for the screen adaptation.
After the first season, I held hopes that subtle adjustments could enhance a game I wasn’t fond of. Instead, I believe they may have rendered it less compelling.
Andrew: Oops!
There’s always next season. Perhaps our critiques will be adequately addressed, and maybe even surpassed. One thing is certain—The Last of Us has more stories ahead of it.
Kyle: In the end, the true Last of Us was the multitude of characters lost along the way.
