Note: The following content may reveal significant plot points from the April 20th episode of “The Last of Us,” titled “Through the Valley.” Proceed with caution if you wish to avoid spoilers.
This is the last of Pedro Pascal‘s time on The Last of Us.
In just the first two episodes of the second season on HBO, Joel Miller tragically perished in a particularly gruesome and emotional scene.
In the episode “Through the Valley,” airing on April 20, Abby, who was once part of Fireflies and is played by Kaitlyn Dever, took revenge on someone by fatally striking him with a golf club. This act was triggered by the death of her father, whom Joel, in an attempt to protect Ellie (Bella Ramsey) during their search for a cure for cordyceps fungus in season one finale, had unfortunately caused.
In simpler terms, it was heartbreaking for Ellie, whom Joel had considered like a daughter after losing his real child during the cordyceps outbreak, to be powerless and witness the brutal killing she was subjected to, as she was held captive by Abby’s followers.
Needless to say, the internet had thoughts.
One viewer exclaimed on X (previously known as Twitter), “I can’t believe how rapidly events unfolded from episode 1 to 2, I’m utterly astonished,” while another expressed, “Wow, what on earth just happened!!!
A third viewer added, “Holy f–k this episode is insane.”
Nonetheless, some viewers weren’t entirely taken aback by Joel’s grim demise. Given that it followed the same sequence as depicted in The Last of Us Part II, the 2020 video game sequel, which HBO has confirmed will have a third season.
According to Craig Mazin, who co-created the series, they aim to maintain the essential elements or “structural pillars” of the original storyline. He shared this during an interview with IGN in early April.
He stated, “We strive to produce the finest program we can, and we do this while holding in high regard the elements of the game that function exceptionally well. If not, then one might question why we’re putting in the effort at all.
The showrunner understands fully that viewers might draw parallels between Joel’s demise and notable events like the Red Wedding from “Game of Thrones.
He recently stated in an interview with Esquire that we’ve become accustomed to television shows causing pain to characters we care about deeply. He pointed out how shocking it was for viewers when Sean Bean’s character died on “Game of Thrones,” and then two seasons later, the Red Wedding episode left everyone stunned once more.
Mazin explained, “When a death is handled thoughtfully, serving a meaningful purpose within the narrative and significantly affecting characters we empathize with, we can comprehend its reason.
For more behind-the-scene secrets from The Last of Us, keep reading…
As a devoted admirer, I can tell you that the game serves as my vision, a reference to the 2013 PlayStation title which HBO’s The Last of Us is based upon. To me, the concept art for the game has always possessed a cinematic quality, with an authentic sense of location, lighting, and realism.
However realistic it seemed, it remained a video game. Paul Healy, the set decorator known as Paino, along with hundreds of other craftspeople, were tasked with creating tangible depictions of the game’s dueling worlds. These included a not-so-distant yet subtly retro 2003 and a time-frozen version of that same year, two decades after life as we knew it abruptly ended.
Paino clarified that the primary difficulty lay in working within a genuine, real-life setting. “We’re producing a period drama,” he said, “set against a backdrop of a post-apocalyptic world, which itself is a dramatic tale about people. Thus, we had to deal with these intricate layers.
The manufacturing process began in Calgary in July 2021, and according to him, the city “put in a lot of effort” for various aspects, but he added that “no location was ever overlooked by the art department or construction teams.” Moreover, he mentioned that “everything has been ignored for two decades,” which means that even if an area had the right aesthetic for filming, they would need to modify anything too noticeably contemporary, such as digital parking meters.
The first time Paino interacted with the producers, he displayed collages that, as he put it, “represented the essence of the game for me.” A collection of pictures stood out notably: broken restaurant chairs found in a Hong Kong alleyway, which had been repurposed by locals with temporary repairs using traffic cones or improvised wooden pieces to replace missing legs.
After two decades without any resources, the question arose in Paino’s mind: “How do people manage to live?” He pondered. “What strategies do they employ? I plan to exhibit this image as a means to convey the notion of drought and human ingenuity—the delicate balance between despair and hope.
According to Piako, series co-creator Craig Mazin found those pictures to be simply fantastic, and they immediately began working on the project.
Credit for the breathtaking, lifelike city landscapes that underscore the destruction’s magnitude goes to Alex Wang and his visual effects team. However, everything the performers interacted with at a closer range was genuinely present in real life.
He stated, “As they exit the QZ, everything around them appears constructed, all sculpted.” He continued, “They traverse this setting, and then the camera pulls back, revealing it as a computer-generated landscape. Our general practice was to elevate our set design by 20 feet above their heads and then dress everything within sight. They’re not merely walking through green screen sets, but rather real environments.
In a series primarily based around a world devastated by a lethal cordyceps outbreak, transforming the infected into creatures resembling blooming onion-headed clickers, it’s surprising how vibrant and not gloomy the color scheme of “The Last of Us” is.
Inside the Boston Quarantine Zone, it is flooded with red brick and dots of blue and yellow, while outside this zone, nature has been actively reclaiming its territory. As a result, buildings stand overgrown with vines (all handcrafted) and various lush greenery.
“I never wanted it to feel like a Dutch painting, where everything was brown,” Paino quipped.
For Ellie, who had never ventured beyond the Quarantine Zone until she embarked on her journey with Joel (Pedro Pascal) and Tess (Anna Torv), everything seemed a bit more vibrant to her as she explored the world through fresh eyes. The eerily organic clickers provided splashes of color, and even the seemingly harmless fungus had become a common sight, giving some walls a leathery, plant-like appearance.
Intricate white card models were found to be extremely useful, according to the production designer. (Indeed, even this entire universe has been meticulously crafted on a smaller scale.)
According to Paino, we had a remarkable model creator who really impressed us. My personal favorite among their creations was the massive model for the cul-de-sac [in episode five, “Endure and Survive”], where the clickers emerged from the ground. That entire sequence required an incredible amount of stunt coordination.
Movement specialist Terry Notary conducted a training session to prepare the background actors for convincingly depicting a horde of the infected.
In the town of Canmore, they substituted for Jackson, Wyoming, where Joel’s brother Tommy (played by Gabriel Luna) resided, leading a comfortable, luxurious lifestyle surrounded by modern amenities such as electricity and movie nights, within a secured, shared community.
Paino pointed out, “We constructed sections of the walls and renovated many facades.” However, what truly delighted him from that project was the creation of a paddock right in the heart of a parking area.
He exclaimed, “It was an absolute blast to have that spacious pasture area!” He continued, “We had some cattle, a couple of sheep, and horses too. The team in charge of setting up the decorations did a fantastic job.
In episode seven titled “Left Behind,” Piano particularly enjoyed the setting where Ellie and her closest companion, Riley (Storm Reid), initially had an amazing evening. However, the harsh reality that no place is truly secure unfortunately surfaced later on.
According to the designer, the Northland Village Mall in Calgary was “fatefully discovered” rather than specifically created. Despite being scheduled for demolition, they fortuitously found it intact. The original facades were rebuilt, and all the signage, debris, junk, vines, and even a merry-go-round were carefully brought in to restore its charm.
The team responsible for set design located clothing items similar to what might have been displayed in a Victoria’s Secret shop window back in 2003, costumes suitable for a Halloween store, and the more limited assortment of American Girl dolls that were offered at their flagship boutique during that time.
In the show, every brand name – be it from shops in the mall to an old Arby’s in Kansas City (with “Matchstick Men” and “Underworld” always displayed on the movie theater marquee) or a sign saying “We accept Mastercard” at a restaurant where wine glasses on untouched tables are filled with moss – were unique to this production, as the video game had no licensed products.
The amusement company rented out the carousel with a rodeo theme, which Ellie and Riley enjoyed a ride on, that was transported from Spruce Meadows entertainment complex in Calgary. They shipped it dismantled and later put it back together at Northland Village.
They added reflective panels to the center of the ride to add to the surreality of the experience.
Referring to Raja’s Arcade (based on the game), Paino remarked, “Having grown up in the 70s, I spent considerable time at an arcade in a shopping mall, thus making it an effortless depiction.
He went on to say that setting up the neon lights was an absolute blast, and they managed to find a vintage carpet from the 70s, boasting the iconic Zippy satellite design. To complete the nostalgia trip, they added a variety of games, such as Tetris, Frogger, and Mortal Kombat.
He mentioned that some of those could be rented, but he and his team constructed a significant number of them, and they functioned effectively. However, when attempting to film games from two decades ago on camera, the old cathode-ray tube (CRT) monitors produced a fuzzy image, so they switched to sharp, flat LED screens to accurately capture the action on screen.
“That was a lot of fun,” he reflected. “I loved that set.”
In second place among Paino’s preferred settings was the town where Nick Offerman’s character, Bill, was contentedly residing all by himself. However, in 2007, Murray Bartlett’s character, Frank, entered the scene and turned everything upside down. With Frank having been introduced into the storyline, their moving love narrative, crafted specifically for the series, offered a distinct form of heartache as the narrative veered away from Joel and Ellie’s journey.
They had very little time, just a brief opportunity, to prepare the setting, from introducing the vegetation to crafting the Civil War monument, as Paino stated. I believe we were working right up until the early hours of the night prior to filming.
According to Paino, Bill’s house seemed more like his mother’s, given that she was wealthy and maintained it as if it were a museum. This explains the antique, old-lady style that initially characterizes the home of the gruff survivalist.
In a moment, Frank arrived and pondered, “‘Alright, now, what’s the plan here?'” He contemplated, “‘I’ll head to Target for some paints.’
Although the quaint village appeared deserted rather swiftly, it still boasts a Home Depot. Paino suggested, “Head over to Michaels, pick up some paint, hang your artwork, bring in some vitality and flowers,” he added, appreciating the creative touch that was added to the setting.
After 16 heartfelt years, Frank’s artistic creations have gracefully adorned every corner of our shared abode, turning it into an exquisite canvas that truly reflects us. By the end, we found ourselves overwhelmed with emotion, our eyes welling up with tears as we marveled at the beauty surrounding us.
In episode 5, some of Sam’s sketches were actually created by actor Keivonn Montreal Woodard, who portrays the tragic character, while the majority were produced by the art team based on the game as their reference.
In spite of the sad conclusion, the heartwarming moment when Henry (Lamar Johnson) dabbed some paint onto Sam’s face in a superhero fashion to lift his spirits was a fresh addition to their narrative.
Mazin possibly called episode 8 (“When We Are in Need”) their “cold episode,” however, the crew experienced several cold episodes while filming at Waterton Lakes National Park. According to Paino, during winter, the resort area was practically empty, as he put it, “there’s nothing there.” Additionally, they encountered around nine feet of snow.
While exploring Waterton, the location where Ellie encountered David’s (Scott Shepherd) cannibal cult, Paino recollected, “We ascended a hill and everyone was sent tumbling back.” He had been there for 16 months during filming. “No special effects were needed to make us fall; we just flew. Yet, it’s an incredibly breathtaking place.
In the final episode of the season, titled “Look for the Light,” I found myself standing among animals that seemed to be peacefully grazing in an old playground – real giraffes, no less! Unlike the sheep and horses usually brought to set, this time it was us who had to travel to them.
Paino remarked that the stage setup was gracefully performed,” Joel and Ellie were traversing through a refurbished construction site, which was a downtown Calgary location we transformed. They’re ascending a staircase – this was a set constructed on a stage. The giraffes’ enclosure at the zoo had a balcony where keepers would feed them. Over approximately a month and a half, possibly more, we gradually integrated parts of the scenery and green screen to match the famous scene of them climbing up the dilapidated building and observing Colorado from the top.
Paino remarked with a touch of humor, “It seemed like around four minutes of the show, but it was incredibly beautiful.
Despite its grandeur, the show was also filmed in a more personal, up-close manner, as Paino pointed out. It’s a tale focused on characters rather than sweeping landscapes; it doesn’t feature many scenes that shout “”
Or:
Though large in scope, the show was also shot with an intimate touch, according to Paino. It’s a narrative centered around individuals, not grand displays of the world itself; it lacks extensive shots exclaiming “Behold, the world!
In the end, he clarified that their intention wasn’t to create sensationalized portrayals of disaster. Instead, they aimed to make it feel real and personal, such as when Ellie searches through a deserted home and finds a sewing kit, emphasizing that “this was someone’s home, this was someone’s bar.
Occasionally, these minor aspects in The Last of Us were either planned or spontaneous, as Paino explained, but they consistently aimed to evoke a poignant, bittersweet feeling by playing with that underlying irony.
In the end, they successfully placed an old, mildewed “Be Back in 5 Minutes” sign that had been hanging there for twenty years without anyone realizing it.
“If I ever have a screensaver,” Paino said, “I think it’ll be that.”
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2025-04-21 05:18