{"id":1214624,"date":"2026-02-22T04:46:52","date_gmt":"2026-02-22T04:46:52","guid":{"rendered":"https:\/\/www.polygon.com\/?p=602646"},"modified":"2026-02-22T04:46:52","modified_gmt":"2026-02-22T04:46:52","slug":"the-last-of-us-season-2-failed-ellie-in-service-of-safe-tv","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/the-last-of-us-season-2-failed-ellie-in-service-of-safe-tv\/","title":{"rendered":"The Last of Us season 2 failed Ellie in service of safe TV"},"content":{"rendered":"
\"Bella
<\/figcaption><\/figure>\n

Without interactivity, the Ellie Williams that players know from the Last of Us games was never going to be the same person as the character who appeared on a television screen on Sunday nights. But by the time season 2 of HBO\u2019s The Last of Us<\/a><\/em> reached its finale<\/a>, it became evident that the TV version of the games\u2019 immune teen protagonist isn\u2019t just an alternate interpretation. Ellie\u2019s character from the games has been butchered, and the show is worse for it.\u00a0<\/p>\n

Despite a long list of differences between the games and Craig Mazin and Neil Druckmann\u2019s screen adaptation, there was reason to be hopeful at first. In season 1, The Last of Us<\/em> made a convincing case for an Ellie mired in teenage rebellion. The TV version of Ellie (played by Bella Ramsey) was comparatively defiant and immature, but that framing was believable for someone who was only 14 when the show began. And I didn\u2019t entirely mind that the adaptation veered from the game version of Ellie, because some of the changes were positive. For instance, the show made space for Ellie\u2019s sexuality from the beginning, whereas fans of the game might not have realized that Ellie was gay until the downloadable content for the base 2013 game arrived a year after launch.\u00a0<\/p>\n

In The Last of Us Part 2<\/a><\/em>, Ellie\u2019s character arc takes a sharp turn. Years after the events of the first game, we meet a hardened version of the character who has been molded in the image of Joel, her mentor and father figure. She shows flashes of tenderness, especially when the game introduces her romance with Dina, a fellow survivor. But the combination of the horrific events she\u2019s faced, including Joel\u2019s death<\/a>, leaves players with a stoic Ellie. If she emotes, it\u2019s with a razing anger that\u2019s only tempered by her obsession with revenge. Meticulous and above all capable, game-Ellie is a killer.<\/p>\n

\"\"<\/p>\n

Season 2 of the show, by contrast, offers a take on Ellie that\u2019s infantilizing at best, and neutered at worst. She comes off as childish and na\u00efve, particularly in the way she handles her relationships. She\u2019s certainly capable of murder \u2014 her tolerance for violence is probably unusually high for her Jackson, Wyoming community. But where other people try to be reasonable and careful, plotting out how to survive in a dangerous situation, Ellie is ruled by impulse. She will put everyone in danger just to stave off her own boredom, and she picks fights for no reason. <\/p>\n

Arguably, there\u2019s something brazen about the idea of a single person trying to go up against an entire army of people who are all surrounded by zombies, as the second game depicts. But Ellie is Joel\u2019s daughter, at least in spirit. Joel was the type of man who could mow down an entire hospital full of soldiers, even after starting that chapter of the game unarmed. When Ellie takes risks in the games, they\u2019re calculated. There\u2019s no guarantee she\u2019ll succeed when she decides to hunt down Joel\u2019s killer, Abby. But the possibility feels tangible enough to justify her setting off on her own to take on an entire faction of militants.\u00a0<\/p>\n

Ellie in season 2 of the show, on the other hand, bumbles her way to Seattle. She has close calls left and right, but they don\u2019t come off as the realities of living in a hostile world, so much as a lack of foresight and ability. At one point near the end of the season, Ellie once again goes off on her own to track down Abby, and immediately almost dies. Dina seems like a more competent soldier than Ellie: Dina can triangulate positions on a map and plan routes, but the show presents Ellie as her boneheaded tag-along.\u00a0<\/p>\n

This direction for Ellie\u2019s character is particularly nonsensical when her backstory in the show is that she was being trained to be a FEDRA leader. It\u2019s confusing that Ellie isn\u2019t the brawn of the operation to find Abby: If anything, she\u2019s the mission\u2019s biggest liability. The moments where she and Dina get into deep trouble are always because of a decision Ellie made. In one instance in season 2, Ellie pushes to enter a location she knows is infested by zombies, and \u2014 surprise! \u2014 is immediately overtaken by a slew of abnormally smart undead. The fumbles are so pervasive that the very premise of the story \u2014 Ellie trying to get revenge for Joel\u2019s death, despite unfavorable odds \u2014 becomes completely unbelievable.\u00a0<\/p>\n

\"Ellie<\/p>\n

In place of the cold-blooded assassin we control in the games, the show leaves us with a paternalistic depiction of Ellie. The show spends a lot of time focusing on Dina\u2019s pregnancy, and entire scenes that do not happen in the game are devoted to moments like watching Ellie pick out a book for the baby. That could have been a wholesome shift, but the show\u2019s writing doesn\u2019t pull it off. The scene where Ellie exclaims that she\u2019s going to be a father, for example, isn\u2019t touching: The performance is awkward. <\/p>\n

Later, when Ellie accidentally shoots Abby\u2019s friend Mel, the character dies begging Ellie to save her baby with an emergency C-section<\/a>. In the games, Ellie does not realize Mel is pregnant until after she dies. The tweak makes for a darker scene, but in service of telling a regressive story where both women are more focused on whether Mel\u2019s baby can be saved than on Mel\u2019s life \u2014 a case of women being whittled down to their biological functions. <\/p>\n

Possibly, Mazin and Neil Druckmann encouraged these narrative changes in the service of establishing more overt familial themes. The show spends time depicting Joel\u2019s childhood abuse and his relationship with his father, and when he dies, Ellie has to consider how to carry on her father figure\u2019s legacy. But there\u2019s no way around the fact that Joel\u2019s legacy is violence. This is why Ellie is basically an assassin in the games, and why she is motivated to hunt down Abby in the first place. The main thing Joel taught Ellie is the effectiveness of force and the importance of being ruthless, even at the expense of your own happiness.\u00a0<\/p>\n

Ellie in the games barely seems to care about Dina\u2019s baby, though, which might be jarring for audiences predisposed to be judgmental about the way mothers raise their children. While the show seems preoccupied with babies and motherhood, it doesn\u2019t present parenthood as a pathway for Ellie to develop as an adult. If anything, her newfound concern for building a family when she repeatedly shows little concern for anyone\u2019s safety comes off as naive and clich\u00e9.\u00a0<\/p>\n

In interviews, Mazin and Druckmann justify the changes to Ellie\u2019s character in ways that categorically underestimate her, despite everything we see her do in the games. For instance, in the show, Ellie kills both Mel and Owen largely by accident. In the games, the deaths are intentional enough that the player is presented with a quick time event that requires mashing a button to ensure Ellie slices through Mel\u2019s neck. Why make the change? According to Mazin, it\u2019s because Ellie taking on both Mel and Owen isn\u2019t realistic. <\/p>\n

\"Owen<\/p>\n

\u201cYou look at Bella and you look at [Owen actor] Spencer Lord, he\u2019s 6\u20194\u2033 and just incredibly imposing,\u201d Mazin told The Hollywood Reporter<\/a>. \u201cA physical struggle wasn\u2019t going to go well, and [Ellie is] not there to kill them. She just wants to kill Abby.\u201d <\/p>\n

The more Mazin describes the thought process behind the ways the show diverges from the games, the more it seems like the writers did not understand Ellie as a character. And that fundamental misunderstanding can\u2019t beget a compelling interpretation that deviates from the source material. In Mazin\u2019s podcast breakdown of the season 2 finale<\/a>, he said \u201cAbby is seemingly not like Ellie, in that Abby is incredibly competent.\u201d Except the entirety of The Last of Us Part 2<\/em> is all about Ellie\u2019s terrifying propensity for violence. At one point, the game even flips perspective and forces players to try and escape Ellie\u2019s wrath. It\u2019s one of the most difficult and scary portions of the game. <\/p>\n

Personally, I didn\u2019t need Ellie in HBO\u2019s The Last of Us<\/em> to be the exact person portrayed in the games. What would be the point? Thanks to the remasters, some of us have played the games twice already; if anything, a different take on Ellie is a welcome idea for a series that\u2019s bordering on oversaturation. <\/p>\n

At the 2025 Dice Summit, Druckmann shared a conversation he had with series co-star Pedro Pascal, who was getting frustrated with Druckmann\u2019s directing on the show. As Druckmann recalls<\/a>, Pascal asked him, \u201cDo you like art?\u201d <\/p>\n

After the finale, it\u2019s tempting to read Pascal\u2019s question as an indictment of the season as a whole. The direction of the show comes off as though Mazin and Druckmann were afraid to trust that their audience would be receptive to a woman who is a cold-blooded killer. It wouldn\u2019t be believable. But their idea of making palatable TV seems to require them turning their protagonist into a childish amateur, and in doing so, the show betrays the original story. <\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Without interactivity, the Ellie Williams that players know from the Last of Us games was never going to be the same person as the character who appeared on a television screen on Sunday nights. But by the time season 2 of HBO\u2019s The Last of Us reached its finale, it became evident that the TV version of the games\u2019 immune teen protagonist isn\u2019t just an alternate interpretation. Ellie\u2019s character from the games has been butchered, and the show is worse for it.\u00a0 Despite a long list of differences between the games and Craig Mazin and Neil Druckmann\u2019s screen adaptation, there was reason to be hopeful at first. In season 1, The Last of Us made a convincing case for an Ellie mired in teenage rebellion.…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1214625,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1214624","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nThe Last of Us season 2 failed Ellie in service of safe TV | Arcader News<\/title>\n<meta name=\"description\" content=\"Without interactivity, the Ellie Williams that players know from the Last of Us games was never going to be the same person as the character who appeared\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arcader.org\/news\/the-last-of-us-season-2-failed-ellie-in-service-of-safe-tv\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" 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