It is Monday again, marking our weekly tradition of discussing the latest episode of Season 2 of The Last of Us since its launch. Today’s focus is on Episode 3, which runs for 58 minutes and was directed by Peter Hoar, who previously helmed Episode 3 of Season 1, known for encapsulating the poignant story between Bill and Frank. This selection is significant, given the powerful and impactful events in Episode 2, necessitating a moment to reflect, gain perspective, and process those experiences. For me, Episode 3 serves as an episode dedicated to mourning, reflection, and contemplation. What actions do we take following these events? How do we proceed after Jackson was devastated in such a manner? And now that Joel has passed away, what is the next step forward? Those who have played the video game are aware that it’s time to prepare for retribution and head towards Seattle. However, be prepared for alterations in the narrative and timeline compared to the original game.
Undoubtedly, following the significant impact of Episode 2, which holds one of the highest ratings in television history on IMDB (9.5/10), we may agree or disagree with it, but this discussion is separate. Nonetheless, Episode 3 adopts a more tranquil pace, yet remains equally engaging as it introduces the Scars, referred to as Séraphites in the French version, a well-known religious group distinguished by their facial scars resembling an ‘angel’s smile.’ The Scars have a specific goal: to establish a better world than the one before the epidemic using medieval methods. We will address this further shortly.
DEUIL-LA-BARRE
I would like to begin by noting several points, particularly regarding the first five minutes of this episode, which serve as a recovery period following the events of Episode 2. The episode features a close-up shot with reverse traveling that distinguishes a pile of infected corpses from the Cordyceps near Jackson’s city at night, with a reddish complexion that inevitably evokes imagery reminiscent of battles in “Lord of the Rings” or “Game of Thrones.” This shot is not insignificant, as Episode 2 has often been compared to “Game of Thrones,” particularly in scenes such as the Massacre of Durlieu or the Battle of the Long Night. The comparison is understandable given that both episodes were directed by Mark Mylord.
TOMMY & DINA: THE NEW GOAT?
Regardless… What I also appreciate about this Episode 3 is that it continues to confirm what was suggested from the start: Tommy’s role is becoming more significant within the series, which differs somewhat from his presence in the video game. This evolution is something I particularly enjoy. I am thrilled because Gabriel Luna delivers a powerful performance as Tommy, portraying him as a quiet yet formidable figure who appears poised to step into Joel’s shoes as a central character capable of shouldering the narrative weight of the series. However, Tommy will not be the only character whose story gains depth; Dina’s trajectory is also evolving, with Isabela Merced’s portrayal continuing to highlight her potential as a future great actress. Craig Mazin and Neil Druckmann’s approach to rewriting ensures that the relationship between Dina and Joel feels more grounded than in the game, where Dina primarily serves as an assistive character during gameplay. In a television series, this mechanic does not apply, necessitating a compelling narrative reason for her future involvement. This change makes their journey to Seattle more coherent and emotionally resonant, especially through scenes set in the cabin where Joel is killed, which intertwine Dina’s experiences with those of Tommy, positioning her at the heart of the drama and laying the groundwork for her personal development and reasons to join Ellie on her quest for vengeance.
It is therefore not merely a matter of adaptive finesse; this repositioning allows for the enrichment of Dina’s psychology, often relegated to the background in “The Last of Us Part II.” Sharing a major trauma, Dina will no longer act solely out of love or loyalty but also from pain, guilt, and an innate need to mend what has been broken. This is even referenced several times in episode 3, as she encourages Ellie to stay by her side during episode 4 when learning she is pregnant.
SCAR TISSUE
Episode 3 will also introduce the Seraphites, known as The Scars, who appear later in the video game. However, due to the need for a more intense pace in a TV series compared to a video game where the narrative can be stretched out and thus extend the game’s lifespan, certain changes have been made. Gamers who complained about Eugene’s hideout scene being rearranged will notice that Craig Mazin and Neil Druckmann are beginning to make adjustments. In the video game, Eugene’s hideout, where marijuana is smoked and intimate moments are shared through anecdotes or physical exchanges, spans Ellie and Dina’s journey to Seattle. In Episode 3, this unfolds in a tent with a focus on the dialogue of a kiss rated from 1 to 10. The tattoo on Eugene’s scar and his lovemaking scene will also be adapted but appear in another episode…
In “The Last of Us” Season 2, Episode 3, viewers are introduced to The Scars through a scene that features their characteristic harsh hissing, typically associated with stress in video games. Unlike in the original context where they are hunters, here they serve as prey, setting up the introduction of another faction: the Wolves. This faction is led by Isaac, portrayed consistently by actor Jeffrey Wright both in the series and the video game. In Season 1, Wright also played Marlene. Isaac’s character is known for being serious and unwavering, a fact that will become more evident as viewers progress to the next episode.
Episode 3 of The Last of Us continues to develop its narrative, deepen character dynamics, and escalate stakes while introducing new elements. Notably, it sets the stage for a vengeance quest and features the appearance of Manny, played by Danny Ramirez. It should be mentioned that last week, I incorrectly stated that Jordan was stabbed by Ellie when she enters the cabin where Joel is being tortured; in fact, it is Manny who gets injured. This alteration indicates that changes are beneficial to the series as Season 2 consists of only seven episodes, and maintaining viewer engagement with essential storylines is crucial. Considering how many viewers may have dropped out during Daredevil’s Born Again series, which also runs for nine episodes, it underscores the importance of adapting content effectively from video game format to television.
