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Before this week’s The Last of Us, I was unaware that I had the capability to fall in complete love with a cantankerous, virgin survivalist with an unfortunate hair and to mourn his death as though he were a member of my family — all within the space of an hour and 20 minutes. But here I am, ugly-crying over The Artist Formerly Known as Ron Swanson.
Sunday’s episode of the series was a departure from the video game it’s based on, the biggest narrative change we’ve seen so far. It also was an elegant, thoughtful, moving love story set in a time and place where nothing is sweet or beautiful — which makes it that much more sweet and beautiful. I’ve been waxing rhapsodic about this ep since I saw the screener; make sure to watch the video at the top of this post to hear some of Murray Bartlett and Nick Offerman’s thoughts on their The Last of Us turn.
But first, read on for the highlights of Episode 3.
PIT STOP AT A CONVENIENCE STORE | The episode starts off with Joel and Ellie, so we will, too. Ten miles outside of Boston, he builds a cairn and gives the teen the silent treatment as he quietly mourns Tess. But Ellie isn’t having it, telling him, “Don’t blame me for something that isn’t my fault.” They set off on a five-hour hike, during which she asks him roughly two thousand questions. (And no, he still won’t give her a gun.)
They stop at a Cumberland Farms convenience store where he stashed stuff a few years before. As he pokes around, trying to remember exactly where his goods are, she finds a trapdoor in a back room and, after opening it, drops herself into the dark and scary void below. (Side note: Whyyyyy, kid?) She finds a box of tampons (and has the best reaction to a female hygiene product I’ve ever seen on screen: ‘f–k yeah!’) before realizing that there’s an infected trapped under a bunch of cinderblocks in the corner.
With a scientist’s curiosity, she draws closer and uses her knife to slice open his forehead, then drives the weapon into his skull to end him. When she eventually emerges, brandishing the tampons like a trophy, Joel is none the wiser.
HOW IT BEGAN | Their walk continues. As they pass the wreckage of a plane that crashed into a hillside, she’s dazzled when Joel gruffly answers her that yes, he did travel via airline back in the day. “Dude, you got to go up into the sky,” she says, awed. Their conversation turns to how the Cordyceps outbreak got started. “Who bit the first person? Was it a monkey?” Turns out, no one knows for sure.
The prevailing guess is that the fungus mutated and got into the food supply via a basic ingredient like flour or sugar. (Side note: Now would be a good time to think back to the premiere and all of the baked goods — pancakes, biscuits, oatmeal-raisin cookies — that Joel and Sarah didn’t make or turned down.) “You eat enough of it, you get infected,” Joel theorizes, remembering that the outbreak happened on a Friday. “By Monday, everything was gone.”
When they get to a certain point in their journey, Joel wants to cut through the woods, to save Ellie from having to seem some pretty gruesome stuff. But she’s curious and forges ahead anyway. Even she, however, is pulled up short by the large number of skeletons they come across I a field. Joel informs her that, a week after Outbreak Day, soldiers evacuated small towns in the countryside and told people that they would be transported to the QZ. And that was true… provided there was room in the QZ. If not, the soldiers executed them. “These people weren’t sick?” Ellie asks, horrified. “No, probably not,” Joel responds. Via their conversation we also learn that dead bodies can’t be infected with the fungus.
ENTER BILL | And now, on to the main event. We flash back to Sept. 30, 2003, and one of those sweeps that Joel just referenced. An armed man hides in a subbasement of his suburban home, which is rigged with security cameras. Though soldiers search the place, they don’t find him. “Not today, you new world order, jackboot-wearing f–ks,” he gloats. Once they’ve loaded everyone else onto transports and left, he comes up into the house, wearing a gas mask that he slowly removes. The man is a survivalist named Bill (played by Parks and Recreation’s Offerman), and he is the only person left in his neighborhood.
This reality does not seem to faze him. He steals gas, loots Home Depot and barely blinks when the power grid goes down; after all, he’s got a huge generator in his backyard. That yard also features a garden, chickens and a zillion defense mechanisms. When an infected approaches and trips a wire near the perimeter, he watches via camera as it gets shot down by an automatic gun. “It doesn’t get old,” he muses. Yeah, Bill is basically having the best pandemic ever.
A MESSED-UP MEET CUTE | Four years later, an alert lets him know that someone is nearby; Bill goes outside to find a man has fallen into a pit on the land just outside the electrified fence that encircles his home. As Bill holds a gun on him, the man, Frank (White Lotus’ Bartlett), explains that he was traveling with a group of 10 people from the Baltimore QZ, which is now “gone;” they were heading to Boston but he’s the only one left.
Bill gives Frank a ladder and scans him when he climbs out; he’s not infected. Frank asks for some food. “This is not an Arby’s,” Bill says, irked. “Arby’s didn’t have free lunch. It was a restaurant,” Frank replies. Bill begrudgingly allows Frank to come into the house and shower, which is only part of the reason Frank is shocked when the meal Bill prepares is gourmet-caliber, complete with wine pairing.
As they eat, the differences in their personalities become even clearer. Frank is warm, talkative and open. Bill is wary, taciturn and tense. When the food is gone, Frank is about to leave but pauses when he notices a piano in the parlor. Bill acquiesces to his request to play. However, he stops Frank when he pulls out a songbook and gets a few bars into a rough rendition of Linda Ronstadt’s “Long, Long Time.” So Frank gestures for him to play, “and then I’ll leave.”
Bill sits and, from memory, plays a gentle, lovely version of the tune. “So, who’s the girl? The girl you’re singing about?” Frank wonders when Bill is done. “There’s no girl,” Bill replies, near tears. “I know,” Frank says quietly, putting his hand on Bill’s shoulder, then leaning down to kiss him. The effect is electric; Bill quickly stands and kisses him back. They’re both crying a little as Frank asks Bill’s name. Then, “Go take a shower, Bill,” Frank says, kissing him again.
When Bill emerges from the bathroom in a towel, Frank is waiting for him, naked, in bed. We learn that Bill slept “with a girl a long time ago” but is pretty inexperienced and VERY nervous. Frank gentles him, promising to “start with the simple things” and murmuring that if they do what they’re about to do, he’s going to stay for a few more days. Bill shakily, and happily, agrees, and Frank kisses him, sliding down Bill’s torso and out of frame.
DYSTOPIAN DINNER PARTY | We immediately cut to three years later, where the pair are having a loud argument. Frank wants to engage in some beautification of the house and surrounding neighborhood, because “We are going to have friends. We’re going to make friends, and we’ll invite them to visit.” A skeptical Bill wonders who’s even left to befriend, and Frank says he’s been chatting with “a nice woman on the radio.”
And that nice woman is Tess! She and Joel, both far less banged-up and wary of life than when we last saw them. Still, Bill and Joel give each other the hairy eyeball throughout the visit; after a lovely meal, Joel says he understands Bill’s desire to shun human contact, but the QZ has stuff Bill doesn’t — like books and medicine — and suggests that they can help each other. Bill quickly reminds Joel that he and Frank are self-sufficient: “I don’t need you or your friend complicating our lives. Is that clear?” Joel calmly points out the property’s eventual weak points, like the fence, which is already starting to corrode and probably has about a year before it needs to be replaced. Joel says he can get them aluminum that will last the rest of their lives, but Bill is unmoved — both by that and by Joel’s prediction that raiders — aka nefarious humans looking to steal and/or do worse — will come at night at some point. “They’ll be quiet and armed,” he says. “We’ll be fine,” Bill flatly states.
TOUGH TIMES | Three years later, after we get a sweet interlude in which Frank surprises Bill by showing him a strawberry patch he planted. Bill grouses about Frank trading one of his guns for the seeds. Frank assures Bill he likes seeing him grow old because “older means we’re still here.” Bill admits “I was never afraid before you showed up.” They make out. The whole scene is a beautiful slice of their relationship… which lulls us into a false sense of security that is shattered when raiders attack the house during a rainstorm.
Frank wakes as the assault begins and realizes Bill is not in the house. He grabs a gun and rushes outside, where Bill is firing at the raiders in the front yard. Bill takes a bullet (!) and Frank gets him inside, laying him out and trying to stop the bleeding while Bill insistently gives his partner instructions on what to do when he does. He tells him to call Joel, “he’ll take care of you.”
The next time we see them, it’s 10 years later: 2023. The good news? Bill survived his injury. The bad news? A degenerative disease has made Frank need to use a wheelchair, and his motor function has deteriorated so much that he’s having trouble doing things like painting or opening his pills.
So one morning, Bill wakes to find Frank already up and sitting in a chair, something that he admits took him nearly all night to accomplish. “This is my last day,” he announces. Bill is devastated, but Frank says he’s made up his mind. “I’ve had more good days with you than with anyone else. Give me one more good day,” he asks, outlining a 24-hour span in which they’ll get new clothes at the boutique, they’ll get married, they’ll have dinner, then he’ll put all of his meds in his wine and go to bed, “and I will fall asleep in your arms.”
Bill starts to sob. “I can’t,” he protests as Offerman kills me softly. Good lord, this guy is good. But Frank quietly asks if he loves him, and Bill says yes. “Then love me the way I want you to,” he replies.
BILL MAKES A CHOICE | So that’s what happens. Both men don suits and exchange rings in the parlor by the piano. Then they dine. Afterward, Bill brings out two glasses and a new bottle of wine. He empties crushed pills into one glass, mixes it up and hands it to Frank, who wonders whether it will be enough to do the job. “Yeah,” Bill says quietly, and Frank drinks it down at once. Bill follows suit, which is when Frank realizes… “Were there already pills in the bottle?” Bill meets his gaze as he answers, “Enough to kill a horse.”
As Frank tries to absorb what’s happening, Bill explains. He says he’s old and tired, “and you were my purpose.” For the record, Frank does not support the decision, but acknowledges that it is terribly romantic. They’re in a good place when they retire to the bedroom for the last time.
‘WE HAVE A JOB TO DO’ | When Joel and Ellie arrive at the gate, Joel instantly knows something is up. The code still works to let him in, but the grass is overgrown at the house and plants are dead in their pots, plus the front door is unlocked. Inside, Ellie finds an envelope — addressed “To whomever, but probably Joel” — and a key.
The missive is dated Aug. 29, 2023. Ellie reads it aloud. “If you find this, please do not come into the bedroom,” Bill asks. He instructs Joel to take anything he needs. “I never liked you, but still, it’s like we’re friends. Almost. And I respect you.” He writes about how he’d been wrong about being happy that everyone else was dead, because he found one person worth saving. “That’s why men like you and me are here: We have a job to do. And God help any motherf—kers that stand in our way.” He bequeaths all of his weapons and equipment, with the instruction that Joel use them to keep Tess safe. (Sob!)
The key is to a truck in the garage, and after Joel fashions a battery from Bill’s supplies and ensures that Ellie’s bite hasn’t changed in any way, he announces that he’s got a brother in Wyoming who used to be a firefly, and that maybe Tommy can help her get to someone who can get her to the lab.
But Joel’s got rules for travel, and she’s got to agree before they go any further. He doesn’t want to talk about Tess or their histories. Ellie can’t tell anyone about her “condition.” And Rule 3: “You do what I say, when I say it.” She promises to comply. While the battery is charging, they shower and gather supplies; Ellie finds a gun in a drawer and stealthily stuffs it in her back without Joel’s knowing.
When they get into the car, Ellie is really excited: It’s her first time in a vehicle. He helps her with her seatbelt LIKE THE DAD HE IS and teases her for her exuberance. “It’s like a spaceship!” she cries. Then she puts a tape into the stereo, and “Long, Long Time” starts playing as they drive away.
Now it’s your turn. What did you think of the episode? Sound off in the comments!
One of the best episodes of television I have seen in a while. Incredible! Strong performances and superb writing. Can’t wait for the next episode!
The tone of the next episode will amaze a lot of non gamers, especially what else goes bump in the night. Loving the show but I wish they had broke the first game into at least 2 seasons. It takes about a year of traveling in the game to get from Boston to the final destination. They show different seasons pass as you travel.
I did find that curious. They could let it breathe a lot more spread over more seasons. Do more episodes like this. And fill it out more. Seems like a rush to the end. And then after season 2 they’re facing a Game of Thrones issue with no more source material. What then for season 3 if a new game hasn’t come out by then?
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On the other hand, the way things are going at HBO/WB/Discovery right now, I respect the fact that they’re getting it all there in one season, so it will have a beginning, middle, and end, so if it had faced the fate of a LOT of stuff over there now and had gotten cancelled, they would at least have told the whole story. They probably couldn’t have been sure it would hit like it has. I’m sure they had confidence in what they were producing, but video game adaptations don’t have a great track record of hitting. Especially when the game is sort of a knock off of the Walking Dead (which was knocking off a lot of other things itself). I mean, I’m pretty sure the Westworld/Batgirl/insert cancellation here people all thought they were doing good work too. Better to be safe than sorry.
I’m not crying YOU’RE crying. 😭
Great episode, very early TWD vibes when it was at its best.
That’s EXACTLY what I said too – Early TWD vibes
A beautiful episode A+
After watching this episode, I think we can all agree that Nick & Murray will be sharing the Performer of the Week for this week.
100%
For sure.
I was thinking Emmy nominations as I watched it live.
A perfect episode of television
I am very angry that I am ugly crying over the most touching romance I’ve seen in years snuck into the middle of what I thought was going to be my action-oriented zombie show. It was brilliant.
I know Craig Mazin needs to eat and sleep and have a life and stuff but if he could be creating at least one television show at all times I’d really appreciate it.
That was just stunningly beautiful tv.
If Nick Offerman doesn’t win an Emmy for this episode, they just need to stop giving the damn things out. What an unexpected moment of beauty.
My husband and I have been discussing his performance for two days. Nick Offerman was phenomenal. We all know and love Ron Swanson but this…he showed so much emotion. I could FEEL it. Just beautiful.
Wow wasn’t expecting this! Beautiful episode!
I have no words. A++++++++++++++++++++++
I’ll be the contrarian; I thought the episode killed momentum of the show. Not permanently; but for where the show was moving and what needed to be established it was off right now. And if they’re doing one season per game I don’t know that they have enough episodes to be wasting a whole episode on a side story that has nothing to do with the plot. (The letter to Joel effectively about Tess was way too conveniently on the nose for his mission with Claire. Very heavy handed).
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Now if this was a 22 episode season, this would be great as a break and depth side look around episode 8-12. But with what they have to do in the time they have to do it this felt like a mistake.
It will be an unpopular opinion but I definitely agree. I don’t mind bottle episodes but not that early. I miss seeing Ellie and Joel in this episode. I mean they were barely in the episode apart from the opening sequence and the end. They shouldn’t have spent almost 1 hour on Frank/Bill when they aren’t involved in the present day storyline. Murray and Nick were fantastic in the episode though.
A “bottle episode” is an inexpensive one that largely uses preexisting sets to save money. This, by contrast, was a pretty straightforward (mostly) two-hander.
I agree with you. Looking at the big picture, Bill’s story is not central to the main plot and with 9 episodes only this episode dragged at some points and I think we’re supposed to be invested in the Joel/Ellie dynamic the most. Their plot had very little progression and they still have a lot ahead of them. It was an amazing surprise to see Tess/Anna Torv again though. She’s brilliant.
To both the Ann’s:
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Yeah, it was a well done episode, but I think even the episode his hurt because we’re not fully invested in everyone and everything yet so it’s hard to feel too much. It did feel like Joel/Ellie were tacked on to tell a different story, and we haven’t fully invested in them together yet and that’s what the show should be working on now. In a longer season bottle episodes are great, a nice break and reset, and can do more than the video game does and lets you flesh things out. But in the end of you cut out the middle hour and just have the opening and closing 10 minutes, does anything significantly change? It added nothing to the storyline, was ham-handedly tied into the motivation of the main story, and really seemed like Emmy bait more than a natural outcropping of the story at this point.
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I can see a way where you introduce the character in flashbacks, get to like him and his interactions with Joel, wonder what happened to him after Joel has found his body and note, and then later on, when you’re invested in him, do the full flashback storyline. Good episode, but maybe not good for the show at this point.
There’s not much left in the game though. They have 6 episodes left? I think it’s going to cover the whole part 1 if you have played the game.
But, what I miss about the game is when Joel got hanged upside down from Bill’s trap and had to shoot the zombies upside down. That was really cool.
Yes, that’s my impression too, but I figured they’d flesh out the happenings in the game a bit more, with the main characters. You bring up a good example of something that seems natural to have but was left out.
Yup.
This kind of episode would be ideal a full year or two into the series but as the third episode is just a waste of time in terms of plot and character development for a show in its first season.
I’ve been largely unimpressed with The Last Of Us, likely because I don’t play video games, because they’ve done a poor job of world building in the episodes so far.
The real Hoban Washburn would have loved this episode. YOU ARE NOT HIM.
Interesting take, and I’ll be a contrarian to your contrarianism on the pacing. :)
I don’t know the game and don’t really do zombie shows, but watched the first two eps for Pedro Pascal. I thought eps 1&2 were really well done but maybe not for me, and went into ep 3 thinking this will be the decider if I am into it enough to keep watching. I was stunned by what they achieved. For me, slowing down the pace and spending time (years!) with these two characters substantially upped my investment in the whole world of the show. To see glimpses of people living semi-ordinary lives was so moving, and made me appreciate the stakes as something other than just to get to the end of the game. I also enjoyed seeing the flashbacks to Bill stocking up on supplies and fortifying his home, which are not things the show can take the time for the two main characters to do. And I did feel like it fleshed out Joel and Tess by giving them connections to people other than Fireflies or FEDRA for companionship and supplies. Taking time out for Bill and Frank’s beautiful story made me care a lot more about Joel and Ellie, and I never expected that.
and I’ll be a contrarian to your contrarianism. I too am not a gamer and don’t have any plans on being one or familiarizing myself with the game nor do I care for zombies. The main reason I’m watching is for Pedro and really didn’t care much for these two characters. Yeah, nice story, great acting but I really couldn’t care less about them. I kept wondering why we had to sit thru an entire episode of two characters that we’ll never see again.
I felt exactly the same way – not a gamer, fine with eps 1 and 2, and this episode deepened the world-building for me in an extremely effective way while also portraying a beautiful moving love story. I now feel like I understand the universe around Joel and Ellie a bit better, and I know more about Tess and Joel; to me this was a unique way of showing us the universe the show inhabits.
I disagree. It told a beautiful backstory while also adding context to Joel’s and Ellie’s next steps after the devastating loss ofTess last week.
This episode completely set up the emotional stakes and character motivation for Joel and, if you know how the game ends, it will do a lot of the heavy-lifting to justify his decision at the very end.
Breathtaking in all respects! Bartlett and Offerman MUST BE Performers of the Week. The choice to use ‘Long, Long Time’ was of personal significance to me so that already had me in tears.
Well, that episode was.. horrible. Nothing happened. If you didn’t play the video games what was the point of this episode?
It’s about love. The creator said it. This game was about love.. and zombies..
Joel and his daughter
Joel and Ellie.
Frank & Bill
Ellie & Riley
The black brothers
And many more. I don’t want to spoil you, but there are many show cases of love in this game.
Well I don’t play the video games, and I had no difficulty discerning the “point”—that merely surviving is not enough.
Didn’t TWD do a bunch of episodes like this? So this isn’t that ground breaking but this was on HBO and the other was AMC.
Perfection. What a portrayal of love and humanity.
Great episode, totally unexpected. Amazing how they told a sweeping side story in just one episode and worked Tess in to boot.
I’m starting to cry even reading this. What an amazing accomplishment that episode is. My goodness. Give Nick Offerman and Murray Bartlett all the awards right now.
I respectfully must disagree with your assessment of Episode 3. The Last of Us is the story of Joel and Ellie traveling across the country, battling insane enemies and forming a father/daughter bond. Bill isn’t a main character and is there to help Joel and Ellie on their journey. In the game, after meeting Bill, we had some pretty epic battles and were introduced to a new zombie type. I personally was really looking forward to seeing this on the big screen but instead I got a love story for a secondary character that had no impact whatever on the core story. I’m sorry but I am pretty disappointed in the direction they chose to go with Episode 3.
bingo
If you think it had “no impact whatsoever on the core story”—which is about the relationship between Joel and Ellie—then I’m afraid you rather missed the point.
Well then please enlighten me. What was the point of this episode?
The point is that simply surviving is not enough. Bill had safety and security in the midst of the apocalypse, but he was bitter and closeted. It took a relationship with another human being for him to find not just love, but a reason for hope amidst society’s ruins. It’s going to provide the template for Joel and Ellie’s relationship. And I, for one, am glad the show’s creators are aiming for something higher than “pretty epic battles and a new zombie type.”
But it was so ham-handedly tied to them. “Let’s leave a letter that spells it all out in an exposition dump.” Show, don’t tell. Kinda like the game did.
They spent an HOUR “showing not telling.” The audience doesn’t need to letter to draw the parallel—at least, *most* of us don’t. It’s Joel who needs the letter precisely because he hasn’t seen what we have.
Which is exactly the point you seem to miss. The only way to tie it in any way to the main story to to tack on the letter at the end. Which is a narrative stretch. A really clunky way to say “see, this really matters to the rest of the show! It’s important!” Which it’s not. Nothing changes if you leave it out. And if Joel has to be told that rather than realize on his journey along the way, you’ve already cut the character growth and accomplishment from your lead character. Too bad you can’t see that.
Nick Offerman deserves performer of the week . fingers crossed. and it was a bonus seeing Anna back on my screen
This could be better than House of the of the dragon and GOTS’
Beautifully done, well acted, a great hour of television…and pretty much utterly irrelevant to the story. I think that from the perspective of the episode itself I would say well done but this is the third episode of nine in the FIRST season. This kind of filler episode is more appropriate down the line. TWD, which the show has been compared to, didn’t start vamping like this for at least 3 or 4 seasons. At this point every minute should be dedicated to moving the story forward and be relevant to the overall plotline. Especially after a monumental occurrence like the end of episode 2. Seeing how Joel and Ellie react to it and deal with it would have been just as interesting and helped keep things moving instead of bringing the momentum to a halt the way this did.
Certainly not what I expected after playing the game, but I am so happy they went in this direction because it was one of the best episodes of TV I have ever seen
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It was a beautiful episode, I loved it. A well done story, beautifully shot, with characters that drew me in. The acting was top-notch.