“What the fuck is wrong with Seattle?”
It’s a fair question for Dina (Isabela Merced) to ask in Sunday’s jam-packed—and gory—episode of The Last of Us, “Day One.” On their first day in Seattle, Dina and Ellie (Bella Ramsey) discover two separate groups of dead bodies, including soldiers with their guts literally hanging out; escape a horde of zombies in the subway system; and have to cope with Ellie taking a bite to protect Dina, and Dina subsequently preparing to kill Ellie, not knowing that Ellie is actually immune to cordyceps. They also see their relationship completely change, as Dina reveals she’s pregnant, then immediately rushes to kiss Ellie. Quite the eventful road trip!
As a fan of the video game on which the series is based, Merced was eagerly anticipating many of the events that play out in Sunday’s episode—and she’s even more thrilled with some of the tweaks made by the creative team. Here, she digs into “Day One,” including why she wanted the audience to be as conflicted as Dina and the big moment in which she struggled to hold back.
Vanity Fair: This is only your fourth episode on the show, and you’ve already had a surrogate father killed, fallen in love, and found out you’re pregnant. Did you realize how fast things would move for Dina?
Isabela Merced: It was definitely intense. So much happened in this episode because last episode was the grieving episode. I’d get scripts, and each time I felt there were more lines. That’s when I noticed, Wait, there’s been a shift here. I noticed Ellie sort of becoming Joel (Pedro Pascal), and Dina sort of becoming Ellie from the first season.
When we first meet Dina in season two, she and Ellie have already known each other for years. The chemistry between you and Bella has to show that they’ve got a deep bond. Did you and Bella have to work toward finding this dynamic, or was it just there from day one?
It was naturally there. The camera test was the first time where I felt like we were Ellie and Dina. Camera tests usually suck—they’re so awkward. But it was super simple, and the vibes were there. There was kind of an instant connection. Bella’s really easy to get along with. They’re the most patient, chill person. I got really lucky because I don’t think my performance would’ve been as good if it weren’t for Bella.
You mentioned Ellie starting to become like Joel, and Dina filling the Ellie spot in a way. Do you feel like you’re helping usher Last of Us into the new version of itself?
I felt the shift in the game, too, when I played it; it was a whole other mood. But that’s why it’s called Part II, though, not The Last of Us: Into Seattle. It’s part of one big story with at least nine acts and three central characters. I was ready for the shift because I was a huge fan of the game and how they executed it. And a lot of this storyline is thanks to [Last of Us series and game writer] Halley Gross, who brought Dina and Ellie’s relationship and romance to life.
In the game, Dina was not present for Joel’s death—Tommy (Gabriel Luna) was. What do you think substituting her in added to the sequence on the series?
I thought it was a smart decision. It showed Tommy being more of a community-centered individual, defending Jackson, and he has this badass, Game of Thrones–type moment. And then for Dina and Joel, we already established their relationship in the first episode, so it makes it even more heartbreaking, and gives more incentive for Dina to want to avenge him. And we will learn more about why Dina is so gung ho to go to Seattle, and then also eventually stay in Seattle, even though she’s pregnant. I think that’ll be really interesting to viewers and help build a bigger picture. I really like the change because it makes Dina feel more fleshed out.
Since you weren’t involved in the big Jackson invasion in episode two, the chase through the subway system was your introduction to the zombies. What was it like to get down and dirty like that?
The stalkers and infected are basically stunt actors who can dance, and are just really aware of their own body movements and autonomy. They were so welcoming and sweet. I appreciated them being so patient, because there were a lot of times where we were figuring stuff out. That was a really cool scene, beginning with the incorporating of the crouch [movement] from the game and counting the number of infected, which is a callback to the first episode—but with much more dire consequences. I call it the “subway surfer sequence,” because it feels like we are on top of the subway playing the game.
Ellie steps in and takes a bite for Dina, and Dina is seemingly prepared to kill Ellie. Do you think Dina was really ready to pull the trigger?
I really wanted people to think that I could potentially shoot Ellie in the face—and I also wanted people to feel conflicted with me. Even though they know the truth, that specific scenario is tough, because if she’s telling the truth, it’s terrible, and then if she’s lying, it’s terrible. It definitely was a hard scene to film. I was holding a real gun. My arms were shaking because it was heavy, and it was also in the rain, and those factors all contributed to something that, in my opinion, is really special.
After that standoff, Dina reveals she’s pregnant, and she and Ellie become intimate. Just last episode, Dina told Ellie, “You’re gay. I’m not.” Was this near-death experience what Dina needed to realize who and what she wants?
There’s so many factors, like her knowing she’s pregnant, and then feeling guilty about her baby daddy and how shitty and complicated that situation would work out with being in love with Ellie. And she’s in a lot of internal conflict. I don’t think she knows that you can be bisexual—I don’t think she even knows the word. And she’s pregnant, and the danger she’s putting her baby in—but I also think she doesn’t really care, because she’s just so devoted to the cause. This sequence didn’t carry out like that in the game, so I think people will be happy with that. In the game, it was a little bit more brushed over. Here, it’s given the time that it needs.
I could really see the love in Dina’s eyes earlier in the episode, during Ellie’s performance of “Take On Me.” What were you aiming to convey there?
I didn’t want it to be so emotional. I was actually trying to hold back. But it was just a really beautiful moment. That set was stunning, the greenery, the flowers peeking through. And Bella’s voice just being angelic and pure, and also it being a moment of happy grieving. And then, on top of that, Dina is in denial of the situation. I started crying. I think that could be up for interpretation, because I played it various ways, and I don’t actually know which one they chose. But there was a version where I was sad because of Joel, and knowing that the reason I love Joel is because I love Ellie, and the reason I love Ellie is because I love Joel. And then there was another version where maybe it’s just Dina being scared—like, Oh shit, I’m in love with this person. And she knows she’s pregnant by then, so it’s terrifying and complicates everything.
You mentioned Dina being bisexual, but maybe not even quite knowing what that means. I got a chuckle out of Dina and Ellie not understanding the rainbows. But then I started thinking—these two have grown up entirely in a zombie apocalypse, so they probably don’t know queer culture. Was that something that you thought about in your approach to the character and this relationship?
Yeah, absolutely. I think it contributed to her confusion about sexuality and what it could be. They don’t know what pride is, what the LGBTQ community is. Dina doesn’t even know the word bisexual. Think about a world without all that. It makes it kind of sad, because you wonder what they’re missing out on—and the preciousness of the inclusion they could feel. And maybe a solution to them feeling like outcasts, where Dina is conforming and Ellie is accepting that she’s not like the other residents of Jackson.
Ahead of the season, you were quoted as promising that “the gays are going to be fed.” So I have to ask: Is this what we were talking about? Is the feeding complete, or is the feeding just getting started?
[Laughs] I feel like this was the appetizer. I can’t believe I said that. I can’t believe I’ve ever been interviewed professionally.
If this is the appetizer, what’s to come for these lovebirds?
A lot more backstory. And they’re still holding secrets from each other, so now that they’re this much more comfortable, it’ll be fascinating for them to actually reveal their cards and evolve as characters together. And maybe some other characters coming back and complicating things.
It’s still early, but what’s been the experience so far stepping into this universe and its insanely passionate fan base?
I don’t think I’ve ever seen somebody do a drag show based off of the IP that I was a part of. There’s a whole drag community for The Last of Us; it’s got a big gay fan base. And everybody just wants me to get them a “hi” from Pedro. “Oh, Pedro, he is so hot. Have him say ‘hi’ to me.” And I’m like, “Dude, that’s my coworker, but okay.”
You’re on a really nice run here, between last summer’s Alien: Romulus, The Last of Us, and your upcoming debut as Hawkgirl in Superman. Have you been able to enjoy it, or are you too busy to do that?
It feels like I’m on a train, and with each project, the train’s going faster. So when the train’s going kind of slow, it’s easier to jump off, but when it goes really fast, you’d probably jump off and die. That was kind of dramatic. But honestly, that’s kind of the way I’m looking at it.
You just don’t want the train to ever stop.
If it fully stops, that’s really bad whiplash.
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The post ‘Last of Us’ Star Isabela Merced Thinks Dina “Doesn’t Even Know the Word ‘Bisexual’” appeared first on Vanity Fair.
