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The Path (The Last of Us)

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"The Path"
The Last of Us episode
Ellie crouches at Joel's grave
Ellie (Bella Ramsey) visits Joel's grave. The scene was written to provide viewers a chance to grieve,[1] and its cinematography and Ramsey's performance were praised.[2][3][4]
Episode no.Season 2
Episode 3
Directed byPeter Hoar
Written byCraig Mazin
Featured music
Cinematography byKsenia Sereda
Editing bySimon Smith
Original air dateApril 27, 2025 (2025-04-27)
Running time56 minutes
Guest appearances
Episode chronology
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"Through the Valley" 		Next →
"Day One"
The Last of Us season 2
List of episodes

"The Path" is the third episode of the second season of the American post-apocalyptic drama television series The Last of Us. Written by series co-creator Craig Mazin and directed by Peter Hoar, it aired on HBO on April 27, 2025. The episode follows Ellie (Bella Ramsey), Tommy (Gabriel Luna), Dina (Isabela Merced), and Jesse (Young Mazino) three months after the infected attack on their town of Jackson, Wyoming, as Ellie advocates for tracking down Joel's killers in Seattle.

The episode was filmed around April 2024. The writers wanted it to follow Jackson and pay respects to Joel, allowing the audience to grieve. The episode introduces the Seraphites, a religious group in Seattle whose designs were based on the game's; their facial scars required prosthetics, which underwent several designs. Critics praised the episode's direction, cinematography, writing, and Ramsey and Merced's chemistry, though some found the dialogue and themes heavy-handed. The episode had 768,000 viewers on linear television.

Plot

[edit]

In the aftermath of the infected attack on Jackson, Wyoming, and Joel's death,[a] Tommy cleans Joel's body. Ellie is admitted to a hospital, and wakes up screaming upon remembering Joel's death. Three months later, while Jackson is still being rebuilt, Ellie is deemed physically ready to leave the hospital. She has a psychological evaluation with Gail, who asks her about her feelings on Joel's death and references their last session together where he expressed that he saved Ellie.[b] Though Gail probes for information, Ellie claims not to know what he was referencing and insists she has mentally recovered. She visits Joel's house, mourning for him until Dina arrives and tells her that the group who killed Joel—members of the Washington Liberation Front (WLF)—are based in Seattle.

At a town hall meeting, several townspeople oppose sending a group to Seattle to track down Joel's killers. Seth angrily argues that they should send the group to defend Jackson and its reputation, and Ellie reads a letter persuading the council to send the group out of justice, not revenge; the council rejects the proposal by majority. Tommy speaks with Gail and expresses his worry that Ellie will be out of control, and Gail tells him that some people cannot be saved from themselves and their actions. As Ellie prepares to leave for Seattle alone, Dina tells her she will join. Seth provides them with a horse and supplies, and helps them leave quietly.

The following morning, Ellie leaves coffee beans on Joel's grave. As she and Dina travel to Seattle, they discuss their kiss at the New Year's Eve party,[c] claiming it meant nothing. Dina says she thinks Jesse is sad, suspecting he is inherently so and fearing it otherwise may be due to her. Outside the city, Ellie and Dina encounter a group of dead Seraphites, including a young girl, causing Dina to vomit. They arrive in Seattle and notice a lack of WLF members. Meanwhile, a convoy of dozens of WLF soldiers march through the streets of Seattle with several armored vehicles.

Production

[edit]

Conception and writing

[edit]
Craig Mazin smiling
"The Path" was written by series co-creator Craig Mazin.[7]

"The Path" was written by The Last of Us series co-creator Craig Mazin and directed by Peter Hoar.[7] Hoar's return to the series was announced in January 2024; he previously directed the first season episode "Long, Long Time".[8] The writers felt the episode's opening moments should pay respects to Joel, particularly due to the audience's grief; Mazin considered it important to focus specifically on family, as the series's opening episode initially focused on Joel, Sarah, and Tommy, of whom only Tommy remains.[9]: 2:10  Tommy originally had more dialogue in the scene addressing Ellie, but it was later cut to one line about Sarah.[10] Series co-creator Neil Druckmann—who co-directed and co-wrote The Last of Us Part II (2020), the game on which the second season is based—found the scene moving.[9]: 3:01 

Druckmann thought the series provided an opportunity to follow Jackson in the aftermath of Joel's death, which is featured in the game but not expanded upon.[9]: 3:01  The writers thought Ellie being forced to remain in hospital for three months gave her more time to reflect on Joel's death and consider her next actions.[9]: 5:42  Mazin considered the scene at Joel's grave an opportunity for viewers to grieve, akin to a funeral, before Ellie and Dina proceed to Seattle.[1]: 10:25  Mazin and Hoar compared Ellie's scene with Gail to a "fist fight", with both characters dueling with their words and intellect.[9]: 10:38  Mazin felt Ellie's retrieval of Joel's gun—instead of other belongings like his watch—reflects her relationship with Joel: they saved each other using violence and she intends to avenge him the same way.[9]: 17:29 

Mazin and Druckmann thought the town hall meeting allowed more characters to share their thoughts after Joel's death;[1]: 3:12  they spoke extensively about the scene before writing it. Druckmann cried when reading Mazin's draft, moved that someone would advocate for Joel; that it was Seth, who had clashed with Joel in the second season premiere, made it more impactful.[9]: 24:35  Mazin found Seth's advocacy a reflection of real life, wherein someone with opposing values shares the same opinion, making them question their instincts.[9]: 26:50  He found it difficult to write Ellie's speech, wanting it to be "pretty good, but not honest", and felt Bella Ramsey (who portrays Ellie) faced a similar challenge in performing it.[9]: 28:50  The credits feature a new version of Gustavo Santaolalla's song "The Path"—originally composed for the first game, The Last of Us (2013)—played on guitar by Tom Morello; it was recorded in Santaolalla's Los Angeles studio La Casa, and released as a digital single.[11]

Druckmann considered the Seraphites an extension of groups in the first season using different methods of survival: the Seraphites through religion.[1]: 8:00  Mazin compared the Seraphite father–daughter to real parental relationships in which children incessantly ask questions, best reflected in Cormac McCarthy's novel The Road (2006), which partly inspired Druckmann for the first game.[9]: 51:17  The Seraphites' designs were inspired by the game's development material, including the hairstyles and ponchos; costume designer Ann Foley considered the latter appropriate for the apocalyptic setting. Made of stiff canvas and broken down, they were designed with waterproof layers in case of rain, which occurred during filming, and the symbols on their clothes were hand-painted. Foley appreciated the episode's focus on non-infected characters. Prosthetics designer Barrie Gower and his team decided on consistent appearances based on the characters' features, like that young children would not have scars. Four versions of the scarring were tested, including inverted and keloid designs; depressive scarring, similar to the game, was chosen but intentionally made less intimidating to keep the characters' intentions unclear. The scar prosthetics were made of a paste-based appliance and thickened with a food mixer;[12] they took around 30–45 minutes to apply to the actors. Gower wanted to ensure they did not inhibit the performances or "take up too much space".[12]

Casting and characters

[edit]
Pedro Pascal smiling
"The Path" marked the first The Last of Us episode without Pedro Pascal as Joel.[13]

"The Path" marked the first The Last of Us episode not to feature Pedro Pascal as Joel; his name and the silhouette symbolizing Joel were removed from the title sequence.[13][14] Ramsey was saddened by Pascal's departure but was prepared to step up as the primary lead actor and set the tone.[15] They felt the episode showed Ellie experiencing the stages of grief, beginning "broken and numb" before becoming angry.[1]: 1:45  They felt Ellie had gradually become like Joel, which Hoar felt was reflected in mannerisms such as Ellie's handling of guns and sitting at the front of the horse with Dina.[1]: 11:09  Ramsey considered the scenes at Joel's house among the most difficult to perform as they struggle to cry on camera, especially around the large crew, but found it easier to conjure tears when thinking of happy memories with Pascal.[16]

Gabriel Luna (who portrays Tommy) anticipated the opening scene—wherein Tommy cleans Joel's body alone—more than the action scenes of the previous episode.[17] He was worked up with emotion before filming and tried to relax as he felt the scene was asking the audience to reflect after the monumental story shift with Joel's death.[17][18] He prepared for each take outside the restaurant in the "eerily empty" streets,[17] of which the technical aspects allowed him to "dry up" the emotion before becoming immersed in the scene.[18] When performing, Luna recalled his grief at his grandfather's funeral in 2013, during which he was alone, and other funerals he has attended.[10] He asked Hoar to start filming with a close-up as he felt he was "kind of already there" in the emotions.[17] Pascal's body double, Philippe, was used in the scene, dressed in full makeup at Luna's request to prompt Tommy's physical reaction[10][17] of anger and disgust. Luna coincidentally worked with Philippe six months later on John Wayne Gacy: Devil in Disguise, which he felt reflected the lack of finality to Joel's character. Luna thought most of the scene's dialogue was unnecessary but found it cathartic to perform; it was largely cut from the final version.[19] Tommy had a more significant breakdown in some takes; Luna was satisfied with the restraint of the final cut,[20] considering Tommy "a man of few words".[21]

Luna enjoyed working with Catherine O'Hara; they met and worked together on the film Temple Grandin (2010) but did not share any scenes.[18] Tommy and Maria's son, Benjamin, was originally present when Ellie speaks with Tommy, but the scene was reworked as actor Ezra Agbonkhese was sick; Luna felt the intention behind Tommy's restraint was missing with Benjamin's absence.[20] Luna thought Tommy and Maria voted yes at the town hall, while Jesse voted no, based on conversations with Young Mazino (who portrays Jesse); Isabela Merced (Dina) thought Jesse voted yes.[22] Rutina Wesley (Maria) initially thought Maria would vote no but changed her mind after speaking with Mazin, realizing that the search for Joel's killers was for Jackson rather than Joel.[1]: 4:44  A cut scene revealed that Jesse reluctantly joined the town council after one of its members was killed; Mazino considered the character "a stickler for the damn rules".[23] He thought Jesse would follow the community consensus regardless of his own opinions, caring about his friends but understanding "he has to put the community first".[23] He considered Jesse the opposite of Ellie; while the latter is focused on revenge, the former chooses to act level-headed and look towards serving his community.[23]

Merced tried to imitate a parent trying to share bad news with a child when Dina tells Ellie about the WLF, noting "Dina tames Ellie".[22] She thought the scene was a convenient way for the characters to avoid discussing their feelings for each other. Merced wanted to show Dina's "ride-or-die mentality" to demonstrate her unwavering loyalty to Ellie.[24] The scene was re-filmed months later at HBO's request; Mazin changed little besides Ellie and Dina's positioning, which Merced felt made the scene more compelling, and making Dina's memory of Abby's group more vague. Merced found that re-filming the scene at the end of the season's production made her more patient and sympathetic with Ellie's feelings. Of the later scene of Ellie and Dina sharing a tent, Merced appreciated that the characters' connection was more emotional than sexual, as is often the case with sapphic relationships in media.[24]

Filming

[edit]
Several broken cars on a highway
Additional photography took place in Downtown Vancouver in September 2024, featuring a convoy of military vehicles.[25]

Production on the episode began in April 2024.[26] Ksenia Sereda, the series's lead director of photography, worked on the episode with Hoar.[27][28] Sereda avoided making the night scenes "overly blue", preferring to "preserve these very warm, almost muddy, dusty, rusty feeling to everything".[29] Scenes in Jackson were filmed on a 292,500-square-foot (27,170 m2) set built on a parking lot in Vancouver, used in the previous two episodes, featuring 45 partly constructed buildings.[30] Joel's house was a real home in Langley,[31] and the interior was built on a soundstage specifically for the episode.[1]: 1:17  Sereda cried while filming scenes of Ellie in Joel's house. Hoar wanted the camera to be "uncomfortably close" to characters to feel their pain.[1]: 2:03 

Four cameras were operating in the town hall scene, which encompassed six-and-a-half pages of script and was shot in one day; Sereda wanted to ensure several actors and their performances were captured, and Hoar felt requiring fewer takes from different angles made the performances more powerful.[1]: 5:16  Additional photography took place in Downtown Vancouver—the exterior of the Guinness Tower and Oceanic Plaza—from September 13–17, featuring a convoy of military vehicles; West 16th Avenue was closed for the last two days, replicating the highway to Seattle with several broken vehicles.[25][32][33] A separate unit filmed in the United States to match Ellie and Dina's journey, including in Montana.[31] The Seattle scenes were crafted with cooler, more humid tones than Jackson's "brown, Western texture".[34]

Reception

[edit]

Broadcast and ratings

[edit]

To celebrate the series's inclusive casting, Max partnered with Complex to host an advance screening of "The Path" at NYA Studios in Los Angeles on April 24, 2025, including a panel discussion with actors Ariela Barer, Tati Gabrielle, Luna, Merced, and Danny Ramirez.[22][35] The episode aired on HBO on April 27.[7] On linear television, the episode had 768,000 viewers, with a 0.18 ratings share.[36]

Critical response

[edit]
Bella Ramsey looking left
Critics praised the chemistry between Bella Ramsey (left) and Isabela Merced (right).[37][38][39]

"The Path" has an approval rating of 100% on review aggregator Rotten Tomatoes based on 23 reviews. The website's critical consensus noted the episode acted "as a healing reprieve for both character and audience".[40] Critics praised Hoar's direction and Sereda's cinematography, particularly in the scene at Joel's grave and the travel montage sequence to Seattle, which many compared to a Western film;[2][3][41][42] TheWrap's Alex Welch called the graveyard scene "one of the most cinematic and visually striking moments that The Last of Us has ever achieved".[3]

Critics praised Ramsey's performance for depicting Ellie's grief and fury,[43][44][45] which Den of Geek's Brynna Arens felt immediately reminded viewers of Joel's death.[37] Seattle Times's Dominic Baez highlighted the scene at Joel's grave wherein Ramsey shows "Ellie's still-fresh grief clearly etched across her face",[4] and IGN's Simon Cardy praised the scenes in Joel's house.[2] The Telegraph's Chris Bennion enjoyed Ramsey's performance but considered the character "hard to sympathise with and even harder to love",[46] and Screen Rant's Mary Kassel found Ramsey's "really struggles throughout the episode" due to Ellie's repressed feelings.[39] Several reviewers lauded Merced's performance, particularly her chemistry with Ramsey;[37][38][39][47] Vanity Fair's Joshua Rivera praised Merced's addition of "spunk to an otherwise pretty dour show" as well as "the way she lingers even between chipper moments".[5] The A.V. Club's Caroline Siede enjoyed Mazino's "warm yet practical addition to the series",[43] and IGN's Cardy applauded the "aching tenderness" of Luna's opening dialogue.[2] Some critics expressed concern about the series's ongoing quality without Pascal.[3][39]

Collider's Ross Bonaime called the episode "somber but necessary", praising its depiction of "the beauty of shared pain".[48] Rolling Stone's Alan Sepinwall found the peaceful Seattle journey an appropriate reminder of the narrative themes, on which the infected are cursory;[38] The A.V. Club's felt the episode's aimlessness was both intentional and concerning, noting the second season's nebulous pacing was less dependable than the first's.[43] Praise was directed at Tommy's opening scene[42][49] and Ellie's return to Joel's house,[43][45] which was compared to Brokeback Mountain's ending.[2][50] Some reviewers considered Gail's dialogue heavy-handed;[2][46] The Ringer's Daniel Chin found it a convenient method to provide insight into Joel and Ellie.[51] Kotaku's Kenneth Shepard called it "one of the most disappointing" scenes and felt the town hall "sounded like a podcast of people debating" the narrative's morality.[49] IGN's Cardy similarly found Seth heavy-handed,[2] and Polygon's Susan Polo thought his redemptive arc made his homophobia simply a vehicle through which to express narrative frameworks.[6] Screen Rant's criticized the episode's pacing as "both too fast and too slow", citing the quick transition to Seattle and the Seraphites' introduction and immediate off-screen deaths.[39] Some enjoyed the Seraphites' scene but questioned its placement, unfavorably comparing it to The Walking Dead;[3][38][43] CBR's Katie Doll felt that introducing them as pitiful removes the audience's challenge to empathize with them.[45]

Notes

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  1. ^ As depicted in "Through the Valley"[5]
  2. ^ Joel's session with Gail is depicted in "Future Days"; he refers to his actions in "Look for the Light", where he rescues Ellie from the Fireflies and lies that they were unable to find a cure for the infected.
  3. ^ As depicted in "Future Days"[6]

References

[edit]
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  2. ^ a b c d e f g Cardy, Simon (April 27, 2025). "The Last of Us: Season 2 Episode 3 Review". IGN. Ziff Davis. Archived from the original on April 28, 2025. Retrieved April 28, 2025.
  3. ^ a b c d e Welch, Alex (April 27, 2025). "The Last of Us Season 2, Episode 3 Recap: New Scars, New City". TheWrap. Archived from the original on April 28, 2025. Retrieved April 28, 2025.
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