Isabela Merced Slams the Lack of Recognition for Her Queer Character's Romance in The Last of Us

WARNING: The following discussion includes plot points from episode 4, season 2 of “The Last of Us,” currently available on Max. Proceed with caution if you wish to avoid spoilers.

During a meeting with “The Last of Us” creators Craig Mazin and Neil Druckmann, Isabela Merced was already acquainted with the basis for the second season of HBO’s drama, the game “The Last of Us Part II.” However, she wasn’t aware of the role they had in store for her. In a recent interview, she explained that they asked general questions to understand her personality, even though she was battling a cold and apologized for any future coughing. To Isabela’s surprise, Mazin and Druckmann promptly cast her as Dina, Ellie’s (Bella Ramsey) best friend and love interest from the Jackson settlement. Upon hearing this, Merced exclaimed to herself, “Wow, this is much bigger than I ever imagined!

In “Part II,” Dina plays a significant role, but since actor Merced was given only one script at a time for Season 2, it took her some time to understand that Mazin and Druckmann had upgraded her character to co-lead alongside Bella Ramsey. However, this decision made sense to her. As Merced explained, because Dina’s character is essentially a clean slate and blank canvas, the writers of “The Last of Us” could more easily guide the transition from the game to the TV show using her character. Furthermore, in the television adaptation, Dina serves as a beacon of light amidst Ellie’s gloomy and stressful life. With Abby (Kaitlyn Dever) taking revenge on Joel (Pedro Pascal), killing him before Ellie’s eyes, Ellie’s life becomes even more tragic. However, it is only when she is with Dina that Ellie reverts to the carefree character audiences knew in the show’s first season. As Merced put it, “Ellie is clearly messed up and angry, but whenever Dina’s around, it feels like she can tap into the happiness she once felt.

In “Day One,” during the fourth episode of Season 2, Ellie and Dina are cautiously making their way through Seattle in search of Abby, with revenge on their minds. As they ride horses through the city’s vibrant Capitol Hill district, they ponder the many rainbow flags fluttering in the wind. “I suppose they could all be optimists,” Ellie muses.

I want it with you.

In “Day One,” there’s plenty of excitement to be found. Towards the end, Ellie gets bitten in a thrilling sequence full of stunts, during which she and Dina encounter both the Wolves and, once they venture into a subway tunnel, a swarm of infected within the train itself. They also bear witness to the cruelty of the Scars for the first time, as they stumble upon a chilling, horrific scene: a room filled with bodies hanging from nooses, disemboweled Wolves who have been lynched.

It’s quite surprising how an ordinary event could spark such heartfelt declarations of love, isn’t it? That’s just the way “The Last of Us” goes. Toward the end, Ellie appears to be her usual self, joyously celebrating: “Well, we’re having a baby! Holy cow! I’m going to be a dad.” However, they are aware that they are in Seattle for a purpose. The episode concludes with Ellie and Dina on the theater rooftop, their sanctuary, gazing towards where they assume Abby is. When Ellie tries to convince Dina she doesn’t need to accompany her, as things have changed due to her pregnancy, Dina refuses. Dina extends her hand, says “together” — the final scene shows them holding hands, staring solemnly into the distance.

Born in Cleveland, Ohio, Merced started acting at a young age and has since appeared in films like “Dora and the Lost City of Gold” (2019) and “Alien: Romulus” (2024). In a wide-ranging conversation, Merced talked about collaborating with the show’s intimacy coordinator on Dina and Ellie’s first sexual encounter, reasons behind creating a ‘secret sign language’ with Ramsey for a subway car scene, and how the show’s LGBTQ representation resonates personally as a queer actor.

When you got this role, did you understand how central Dina is to Season 2? It’s really the Ellie-Dina season. When did you figure that out?

Since I could only watch one episode at a time, I was learning as I went along. It seems the writers intended to modify certain aspects during the transformation from game to television series. Given Dina’s fresh start and her resemblance to an unwritten page in many ways, they used her character to smooth over this transition. Furthermore, Ellie was quite intense and brooding in the second game, and it appears that the creators wanted to incorporate more of Ellie’s traits from the first season and the first game. In essence, Ellie is portrayed as someone who has been through a lot and is angry, but whenever Dina is around, she can tap into the happiness she once knew.

In addition, it seems to me that both Dina and Ellie are aiding each other in dealing with their grief. However, it appears that Dina might be channeling her own sorrow towards helping Ellie, almost as if she’s saying “I’ll help you” while secretly needing help herself. This reminds me of the type of friend who is always ready to lend a hand to others but tends to overlook their own needs, much like how Dina seems to be acting.

I wasn’t anticipating such a significant part, but I’m truly delighted about it. Additionally, I appreciate that they’re taking their time to develop the romance subtly, rather than rushing into it as in the game. I believe they are handling the Sapphic narrative with great care and ensuring its authenticity.

Totally. But it was clear to me from Dina’s and Ellie’s first scenes together in the Season 2 premiere that Dina is into Ellie — long before the New Year’s Eve kiss, even. The relationship just feels so lived in and real. How did you build that with Bella Ramsey?

To be truthful, we didn’t have the opportunity to construct it as planned. Prior to the show’s season and filming, we were heavily engaged in preparations and shooting, and I was also busy with “Superman” filming simultaneously. Mostly, I was focusing on physical training. Bella was undergoing physical and stunts training due to her sequence with the Stalker in the first episode. Consequently, we didn’t have much time to reach the location. I simply thought, “Well, that’s just how it goes.” To be honest, I felt more anxious than anything else. However, on day zero, we shot the initial scene where Dina takes Ellie for patrol and teases her Converse. Craig was thrilled from that moment, but I wouldn’t say that was the day my anxiety lessened. I believe it was during the camera test when everything felt right to me, alleviating my anxiety.

This story will run after Episode 4, but in Episode 3, clearly Dina wants something to happen in the tent. Is that how the two of you played it?

In their interactions, they often tiptoed around their emotions, which we needed to be mindful of. Director Peter Hoar was meticulous about the emotions portrayed and when, particularly saving the raw emotions for when they weren’t facing each other, while putting up a facade during direct eye contact. This scene is crucial because it intensifies the existing tension and hints at both characters harboring guilt – Dina feeling she’s betraying Jesse, and Ellie feeling she’s betraying Joel, due to their growing romantic feelings.

In another portrayal, Ellie seemed to be intently focusing on Dina’s form, carrying an implicit sexual undertone. One could notice her mind working subtly. I’m genuinely appreciative that they removed this scene, as I believe it enhances the story’s intelligence and subtlety. It makes the narrative less direct and more intriguing, which I admire in their approach to pacing.

Ellie would truly have been killed minute one without Dina — like, thank God Dina goes with her. When they get to Seattle, they go into a music store, and Ellie sings “Take On Me,” which is a cutscene from the game. You told us at the junket that you loved that scene from the game, and were happy it was in the show. Can you talk about why?

In watching that particular scene, I found myself moved to tears – a response I wasn’t expecting given I hadn’t realized I would be playing Dina at the time. This reaction was purely emotional and not influenced by any prior knowledge or bias. Throughout my life, music has served as a powerful conduit to my feelings, carrying immense significance for numerous personal reasons.

I appreciate the way they weave in Ellie’s guitar lessons from Joel, creating a poignant mix of happiness and sorrow. Grief isn’t just about sadness; it can be unexpected or sneak up on you, or even happy, where you mourn joyful moments with tears of joy. I believe Dina is experiencing a range of emotions because Ellie is breathtakingly beautiful, and she admires her in every way. Yet, I also sense that Dina is grieving Joel during this moment. In my mind, I wondered if Dina had ever heard this song before. To her, it seems to be the first rendition of a masterpiece, a heartfelt solo by the person she loves – a tribute from him to the one he cherishes.

Was Bella Ramsey actually singing and playing?

Absolutely, it’s a joy to acknowledge Bella Ramsey’s remarkable musical talent. Over time, they’ve penned their own compositions, which I’ve been fortunate enough to catch glimpses of in private settings. Occasionally, we’d share a guitar and exchange melodies, creating memorable moments together.

The way Dina is looking at Ellie with such love, it feels so real. Can you talk about getting there?

On that particular day, I found myself both thrilled and deeply moved. The set design was breathtakingly beautiful, adding a touch of sweetness and tenderness to the show that had been overshadowed by darkness and loss. This moment was especially poignant for me, as it seemed to mark a turning point. Additionally, I believe it was my first day of menstruation, which often leaves me feeling quite emotional. It took great effort to hold back tears and maintain a reserved demeanor, as I strive to convey emotions through subtle cues rather than dialogue or overt expressions.

At one point during filming, the director suggested I might want to hold back the tears since it was quite challenging for me. That scene was a struggle as I fought hard not to cry. Upon rewatching it, I noticed the shift from a loving gaze to a hint of sadness in my eyes. I was trying to recall what I was thinking at that moment, and I believe I wanted to convey that Dina isn’t fearless, despite her strong exterior. I wanted to offer viewers a peek into this aspect because love can be terrifying. For Dina to feel these emotions and then, in real-time, be scared of them, was crucial to me as it felt authentic and realistic.

In the opposite of that scene’s vibe, Dina and Ellie then come across disemboweled, lynched people who’ve been killed by the Scars. Did they have bodies there, or were they put in later?

Those displayed bodies were surprisingly lifelike, hanging on the wall, but seeing them was truly horrifying and revolting. It made my day unbearably unpleasant to witness such a scene. The uncanny valley effect explains this perfectly: Our brains can tolerate only so much deceit that appears genuine.

Man, those bodies looked so real it gave me the creeps, hanging there on the wall like that! It was totally gross and just ruined my day. The uncanny valley is no joke – our brains can only handle so much fake stuff that looks real.

Yeah, exactly. I mean, was it as freaky to see that as it was when I saw it on screen?

Absolutely, it was unsettling and undeniably, there was a palpable sense of hostility. The atmosphere felt similar to my encounter with “Alien: Romulus,” where fear escalated progressively from one level to the next, culminating in an intense adrenaline rush brought about by survival instincts. I’m grateful for that experience as it undoubtedly prepared me for this situation.

With the scene in the subway tunnels, Dina and Ellie are actually saved from the Wolves by the infected horde — and Dina’s trying to count them, but she doesn’t have enough fingers. Where should I start with questions for you about the sequence? It was such a huge set piece.

That structure was truly colossal! Oh my goodness. Undeniably, it was an arduous task. I believe we were trapped within for nearly a week, but it’s all hazy now. It seemed like a whirlwind of events. And whenever there was an opportunity, we’d make a beeline for the outdoors to catch some sunlight. The place was incredibly dim.

As I recall, the set decorators were supposed to incorporate soil and dirt, but often they’d use fertilizer with manure instead, which they didn’t have enough time to prepare properly. So, the predominant memory from that period was an overwhelming stench of manure, making it quite unpleasant. Furthermore, Dina and Ellie were both very active, with Dina focusing on cardio exercises, while Ellie was constantly running around. The environment was chaotic, teeming with infected, making for a truly wild experience with so much activity happening all at once.

Were those subway cars really rocking? Was it hard to keep your balance?

Absolutely, they were dancing energetically. It appeared as though they were using some sort of mechanical device for support, but simultaneously, numerous people seemed to be physically propelling them. The sensation of being jolted from one side of the vehicle to another was palpable, and I had to adjust my aim accordingly – it was an incredibly intense series of events. Filming this scene took quite a while.

Due to that particular incident, Bella and I developed our own unique code – a secret sign language specifically designed for us to express whether we felt at ease or uneasy regarding their requests, as well as indicating when nature calls was necessary.

Wait, wait, wait. What do you mean, comfortable with physically?

Absolutely, let’s rephrase that for a more natural and easy-to-understand conversation:

Sure, I feel confident about participating. It’s important to avoid being the person who always hesitates or refuses an invitation, especially as a young woman, because it could potentially harm our reputation. Therefore, we should support each other, and first discuss our feelings in private before agreeing or declining together if necessary.

In terms of stunts, or what kinds of —

Yeah.

So you could tap in a stunt double at a certain point if you wanted to?

Indeed, that aligns with my understanding. They consistently fulfilled their roles, and HBO generally supported such actions. However, Bella seems particularly enthusiastic about the tasks at hand, which could be due to their youth or inexperience compared to me. After all, I’ve been in this field for a considerable time, and while I don’t get remunerated for these tasks, there’s someone who has that role for a specific reason.

Of course. Did you emerge unscathed? Were you OK?

Indeed, truthfully, I was quite alright. I never truly felt endangered or uneasy. They were extremely vigilant and professional. That’s one of the many advantages of being involved in a large-scale production like this.

After Ellie is bitten, she says to Dina, “I would die for you. I would, but that’s not what happened” — since Dina doesn’t know that Ellie is immune. Can you talk about filming that scene?

Absolutely, that was a challenging and intense scene. It required me to delve into deep emotional depths, something I hadn’t experienced before in this way. I estimate we spent about half the day filming it, but it felt longer. I wanted the audience to genuinely believe that Dina might shoot her, so I had to genuinely feel that internal conflict, as if I didn’t, then no one else would. My approach is that if I don’t feel it, they won’t feel it either.

Well, you did great. You have Ellie at gunpoint with tears running down your face — it was very effective, I thought. But was that what you mean about how it was hard holding those two things, like your love of Ellie and being like, “OK, yes, I would kill this person”?

anger, love, confusion, and sadness.

And when Ellie doesn’t turn, Dina tells her she’s pregnant and kisses her, and then they have sex for the first time. Did you film that scene in different ways?

Absolutely, I’m pondering over the sequence of events. I believe we definitely filmed the lead-up to the kiss and everything following the hostage situation at gunpoint. Interestingly, we had more time to capture that scene compared to the aftermath of the bite incident with Ellie. The cinematography was meticulously crafted for this part since Dina isn’t visible in the initial stages due to the flashlight, which I think is quite ingenious. This allowed me to build up my tension and anxiety, helping me get into the right mindset. Once the flashlight goes off and the torch is lit, the choreography becomes intriguing because it raises questions like why Dina turns off the flashlight and gets the torch, and how I can make that action plausible from a practical standpoint. However, I do believe it makes sense: I think Dina wants Ellie to see her fear and her face, which explains why she turns off the flashlight. All in all, I’m quite satisfied with how it turned out.

How did you navigate the sex scene? Did you work with the director Kate Herron on it, and was there an intimacy coordinator?

We collaborated extensively with a fantastic intimacy coordinator named Kathy [Kadler]. She played a crucial role in ensuring that everyone involved felt at ease while maintaining a strong focus on consent due to the sensitive nature of the scenes. By the time we reached this particular part of the season, Ellie and I were already quite comfortable working together. We aimed to create a scene that was not only passionate but also thoughtful, depicting our characters’ relationship progression after a significant barrier had been broken. In terms of specific details, I wanted Dina to be the one to initiate the next step by unzipping her own pants and guiding Ellie’s hand down her body. This choice emphasized that both characters actively consented and participated in this important moment, even though it seemed as if Ellie was in control. Overall, I believe we made some smart choices for this scene, making it a beautiful and impactful moment in the storyline.

I do like that morning breath matters even in the apocalypse. Dina’s hair looks incredible the entire time, by the way. Are you watching it back, like, “Wow, this is hair that holds up!”?

Yeah, literally. Literally!

So they finally confess their feelings for one another. And when Ellie asks, “Why now?” Dina tells Ellie she wants to raise the baby with her, and that Ellie’s the one. How did the two of you bring such sweetness to that scene?

They’ve unveiled the truth, and when they eventually admit to it – setting aside personal pride, issues, and fear – it feels like a heartfelt opening, bringing a sense of sweetness. Particularly among women, once we establish trust, there seems to be no fear in expressing love. I wanted to ensure that the most stressful part was behind us, but their affection for each other remained intense. That day, everything felt so delicate during filming, as Bella and I were incredibly comfortable with one another. Additionally, both of us have backgrounds in same-sex relationships, making it easy to sense when a woman is inexperienced in such encounters. As a result, we were already at ease and could explore more freely. We incorporated additional kisses not originally scripted, as well as moments that weren’t planned based on our comfort with each other.

The episode ends with Dina and Ellie on the roof looking toward where they think Abby is, holding hands — and Dina says, “Together.” I’ve seen the whole season, so I know how complicated things get, but it’s so powerful in that moment. As a queer person, what does it mean to you to have that kind of representation on such a massive show?

It’s fantastic! Surprisingly, nobody seems to suspect I’m LGBTQ+, which is alright by me. I don’t let it bother me much. Being an actor, I can portray any character convincingly. However, the fact that this role holds such personal significance for me is wonderful and inspiring. I often think about people from my hometown who might not have seen this side of me before, really getting to know me, understanding me, and witnessing a deeper connection. It’s heartwarming to imagine someone like me: Raised Catholic, suppressing emotions at times, and aspiring to be an actor – yes, there are many such individuals in Ohio!

Specifically Ohio?

Absolutely! To me, the heartland of America holds immense significance, carrying a unique charm that’s truly remarkable. And what made The Last of Us series so captivating was its forward-thinking approach. It was indeed revolutionary for its time. While we owe a lot to Halley Gross, who joined for the second game and passionately championed Ellie and Dina’s love story, it seems Neil felt less equipped or perhaps uncomfortable in narrating that particular aspect of their relationship. So here’s a well-deserved shout out to Halley for her exceptional work!

Things only get harder for Dina and Ellie in Season 3. How are you preparing for that?

It’ll feel strange pretending not to like Bella, as my affection for them has grown significantly. However, I’m uncertain about the situation, as I’ve discussed it with Craig but he might not fully understand yet. I’ve shared my thoughts with him via text messages, offering insights on how various characters may respond to the conclusion of Season 2 and how Dina, given her transformation from the game, might react to the ensuing events. I’m eager to discuss Episode 7, as I believe it marks a significant turning point in their relationship, especially when the truth is unveiled.

Do you know when you’re starting production?

No, but I think it should be next year.

Can’t be soon enough!

This interview has been edited and (barely!) condensed.

2025-05-05 05:31

Isabela Merced Slams the Lack of Recognition for Her Queer Character’s Romance in The Last of Us