The Last of Us recap: season two, episode three – yes, Joel has been replaced already

TruthLens AI Suggested Headline:

"The Last of Us Season Two, Episode Three: Ellie Begins Her Journey of Vengeance After Joel's Death"

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AI Analysis Average Score: 7.2
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TruthLens AI Summary

In the latest episode of The Last of Us, Ellie grapples with the aftermath of Joel's tragic death, which profoundly affects her emotional state. The episode opens with her in a state of grief, reflecting on the loss of her surrogate father, and showcases her struggle to process this trauma. Following a poignant scene where Tommy tends to Joel's body, the narrative jumps forward three months. During her hospital stay, Ellie receives a therapist's clearance to leave, only to return to a home filled with reminders of Joel, including a shrine of flowers outside. The emotional weight of her surroundings triggers a flood of tears, highlighting her deep sense of loss. With the arrival of Dina, who brings crucial information about Joel's killers belonging to the Washington Liberation Front, Ellie’s focus shifts from mourning to vengeance. The revelation of Abby, the girl associated with Joel's murder, ignites a fierce determination within Ellie, compelling her to seek justice for her father's death.

As Ellie prepares to embark on her quest for retribution, the episode explores her transition from a grieving daughter to a woman resolved to confront her enemies. Despite facing opposition during a town meeting where her call for justice is narrowly voted down, Ellie is undeterred. She decides to set out on her own, but Dina insists on joining her, showcasing their strong bond. With help from the town elder, Seth, they gather supplies and set off toward Seattle. Their journey is marked by a somber visit to Joel’s grave, where Ellie leaves coffee beans, a poignant nod to their past discussions. As they approach Seattle, they encounter a grim scene, hinting at the dangers they will face. The narrative builds suspense as they prepare for the confrontation with Abby and her formidable allies, setting the stage for the challenges ahead. The episode not only highlights Ellie’s evolution but also foreshadows the intense conflicts to come in their pursuit of justice for Joel.

TruthLens AI Analysis

The article delves into the third episode of the second season of "The Last of Us," focusing on the character development of Ellie following the shocking death of Joel. This analysis aims to unpack the underlying themes and potential societal implications of the content presented, as well as to assess the reliability and impact of the article itself.

Character Replacement and Emotional Depth

The article highlights the emotional journey of Ellie as she copes with the loss of Joel, a pivotal character in the series. The discussion around her actions—taking Joel's revolver and adopting his clothing—suggests a significant shift in her character arc. This analysis is likely intended to evoke a sense of empathy and connection among viewers, particularly in how they process loss and grief within the narrative context.

Audience Perception and Engagement

By discussing Ellie's transition and the emotional weight of Joel's death, the article seeks to engage fans of the series who may feel a personal connection to the characters. It taps into the audience's collective mourning process, potentially solidifying their emotional investment in the storyline. This approach can foster a deeper engagement with the series, encouraging discussions among fans about character development and narrative direction.

Potential Omissions or Biases

While the article provides a narrative overview, it might downplay other characters' roles or the broader implications of the storyline. There may be a focus on Ellie and Joel that overshadows other significant themes or character developments, which could lead to a skewed interpretation of the series' overall message. The emphasis on Ellie’s actions may also serve to distract from any critiques of the narrative choices made by the creators.

Reliability Assessment

The article appears to provide an accurate portrayal of the events within the series, supported by specific character actions and emotional responses. However, its subjective tone may introduce biases, particularly in how it frames character motivations and emotional states. It is essential for readers to consider this perspective while evaluating the article's claims.

Societal and Economic Implications

The portrayal of grief and loss in popular media can have wider societal implications, potentially influencing discussions around mental health and emotional resilience. As audiences engage with these themes, they may also reflect on their own experiences, leading to broader conversations about coping mechanisms in society. The article’s focus on a beloved character could impact merchandise sales, streaming subscriptions, and fan engagement events related to the series.

Target Audience

This article is likely tailored for fans of "The Last of Us," particularly those invested in character narratives and emotional depth. It resonates with younger viewers and gamers who appreciate storytelling that emphasizes personal connections and emotional stakes.

Impact on Financial Markets

While this article may not directly influence stock prices, it could affect the valuation of companies involved in the production and distribution of the series, such as streaming platforms. Positive reception could lead to increased subscriptions or merchandise sales, indirectly influencing market performance.

Global Context

The themes explored in "The Last of Us" resonate with contemporary discussions surrounding trauma and resilience, making the article relevant to current global narratives. The emotional complexity portrayed can reflect societal struggles, particularly in times of widespread uncertainty.

Artificial Intelligence Involvement

It is plausible that AI tools were used in drafting or editing the article, particularly in structuring the narrative flow or analyzing character arcs. The language used may suggest a blend of human insight and AI-generated content, aimed at enhancing readability and engagement.

In conclusion, the article presents a thoughtful examination of character dynamics within "The Last of Us," while also reflecting on broader emotional themes. However, readers should remain critical of potential biases and consider the article within the larger context of media influence on society.

Unanalyzed Article Content

This article contains spoilers for theThe Last of Usseason two. Please do not read unless you have seen episodes one to three.

Despite growing up amid a fungal apocalypse that she alone may have the ability to undo, Ellie (Bella Ramsey) is a typical teenager in one key regard: constant sarcastic backchat. We’ve seen the unfiltered 19-year-old dish it out to friends and authority figures alike, rarely thinking twice before saying whatever is on her mind. Which makes it all the more affecting when she spends so much of this episode in pained silence, grieving for the surrogate father she helplessly watched get killed at the end oflast week’s relentless emotional wringer.

With that upsetting death still very raw it might seem premature to ask who could replace Joel (Pedro Pascal), a character so central to the success ofThe Last of Us. But by the end of this episode, Ellie has claimed his revolver, ditched her beloved Converse in favour of Joel-like boots and taken charge on a two-man horse where five years ago she used to ride pillion behind him. Is she consciously trying to emulate Joel, or does she just feel compelled to leave the relative safety of Jackson Hole to avenge him? Let’s unpack what got her and Dina (Isabela Merced) on the road to Seattle.

After a moving scene of Tommy (Gabriel Luna) tending to his brother’s body in a makeshift morgue – and an anguished scream from Ellie as she flashes back to Joel’s murder by Abby (Kaitlyn Dever) – the action jumps to three months later. The town has been in mourning and rebuilding, but Ellie has remained in hospital throughout. Sceptical therapist Gail (Catherine O’Hara) has to sign off on her getting discharged, but after some verbal jousting she is free to return home.

There she sees a shrine of flowers and tributes to Joel on their white picket fence. Inside, Ellie tentatively moves through the echoey rooms as she grapples with his absence. The sight, and smell, of Joel’s jacket and flannel shirts finally triggers the tears – although the arrival of Dina cuts that catharsis short.

Dina has brought homemade cookies and some vital intel: she knows more about Joel’s killers than she has been letting on. A distinctive wolf patch suggests they are members of the Washington Liberation Front (WLF) based in Seattle. She also caught some of their names before getting knocked out: Manny, Owen, Nora and, crucially, “the girl with the braid” whose image is burned into Ellie’s memory. Her name is Abby. “Abby,” repeats Ellie, putting that name at the top of a mental kill list.

We know the shattered world ofThe Last of Usis full of trigger-happy militias and scary hordes of chittering infected. But we’ve never seen a bunch of bald whistlers armed with hammers before. A brief cutaway scene introduces us to this spiritual sect in rough cloaks advancing through a forest, as a man with a distinctive facial scar discusses the group’s philosophy with a young girl. Are they father and daughter? Or a found family like Joel and Ellie? The holy speechifying is a little opaque – something to do with a late prophet who passed down survival techniques – but it all goes out the window when a warning whistle confirms an imminent threat. Apparently the “wolves” are on the hunt, and these poor guys are the hunted.

Now she has a name and a location, Ellie is determined to pursue Joel’s killer. But if she wants resources and backup to accompany her to Seattle, she must raise the issue at a town meeting, where it will be put to a council vote. Perhaps surprisingly she has taken the advice offered by her sparring partner Jesse (Young Mazino) and prepared a written statement rather than just angrily arguing for bloody vengeance. The way she frames it, the pursuit of Joel’s killers is about seeking justice rather than exacting retribution. While it is intriguing to see Ellie operate in political mode rather than on instinct, it doesn’t do her any good: the motion to “find the people who killed Joel and execute them” is opposed by eight votes to three (I’d hazard that Tommy, Jesse and maybe even Tommy’s wife Maria were in favour). Time for plan B.

Having scraped together meagre supplies, Ellie is all set to head out unsanctioned and alone under the cover of darkness. But Dina insists on coming along, and has already mapped out a workable route and how best to “travel light but smart”. As they are about to leave Jackson Hole, they are helped by town elder Seth (Robert John Burke). The gruff barman has had quite the arc, from being homophobic to Ellie in episode one of season two to offering his bullish support at the town meeting. Now he insists she takes his scoped rifle and extra provisions from his emergency stash.

After a sombre stop at Joel’s graveside, Ellie and Dina set course north-west on what seems to be a mostly uneventful journey, although one night under canvas they playfully discusstheir dancefloor kiss at the New Year’s Eve shindig. On the outskirts of Seattle they stumble across the aftermath of what seems to be a one-sided massacre (we recognise the religious whistlers from earlier, particularly the little girl). The scene is grisly enough to make Dina throw up.

Then Seattle is in sight, even if its skyline looks in rather worse shape than the old Frasier logo. Our heroes remain confident that Abby and her WLF accomplices will be easy to find. They amuse themselves by swapping badass lines from Joel’s beloved trashy action movie franchise Curtis and Viper. What Ellie and Dina don’t see is Abby’s friend Manny (Danny Ramirez) on watch atop the Space Needle, gazing down at a rolling column of WLF tactical vehicles and what looks like a formidable armed force. It’ll take more than quips to take this lot down.

Ellie silently leaving coffee beans on Joel’s grave harks back to their opposing views on drinking the stuff in season one (back then, Ellie described the smell of coffee as “burnt shit”).

Director Peter Hoar was previously responsible forseason one’s powerful but devastating episode three. Also on his recent CV:the opener of the current season of Doctor Whoand the imminent Ruby Sunday-centric episode Lucky Day.

Shoutout to “Boring Scott” (as actor Haig Sutherland is credited), the guy at the town meeting who just wanted to educate everyone about the potential long-term benefits of corn production and turkey farming.

Even with Dina’s optimised route, the ride from Jackson, Wyoming, to the outskirts of Seattle, Washington, is more than 850 miles. That seems like a hard shift for poor Shimmer the horse, especially with two passengers weighed down with hardtack, bear spray and an abundance of ammo.

Next week? Looks like it’s time to meetJeffrey Wright’s intense-looking WLF leader Isaac.

What did you think? How much did you miss the presence of Joel? Does it feel good to be back on the road again? Have your say below, but please avoid spoilers from the game …

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Source: The Guardian