The Last of Us (HBO Max) is a post-apocalyptic series, but the fact that civilization could be re-founded under the genetic legacy of Pedro Pascal and Anna Torv strikes me as more of a utopia than anything. Unfortunately – the spoiling of the first three episodes begins – that possibility disappeared with her character’s death at the end of chapter two.
We haven’t even started to process this loss when The Last of Us broke our hearts again. To the rhythm of Linda Ronstadt’s Long, long time – “And time washes clean love’s sore unseen / That’s what someone said me but I don’t know what it mean” – they fall in love with the paranoid Bill (Nick Offerman). Security, who fortified his house, and Frank (Murray Bartlett), a guy who falls into one of his traps. In one hour we witness a full love story between two men over fifty (something not so common in a mass-oriented series). Their love story spans several years and starts from one basic premise: to fall in love is to open the door to fear. Bill, a full-fledged gentleman, tells Frank who was never scared before meeting him. If you really want to be scared, to quote the classics, your jailer is. Jabois wrote once that having a child is like always having something on the fire. Falling in love is knowing that something can be you.
Bill and Frank have fulfilling lives full of bad days, like any fulfilling life, and they’re lucky enough to end it on their own terms. His story also serves to dramatically reinforce the loss of the character of Pedro Pascal, a skillful narrative pirouette. lose whoever you want Now we’re really starting to talk about the end of the world.
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