SPOILER ALERT: This article reveals critical plot details from “Day One,” Season 2, Episode 4 of “The Last of Us,” which is currently available for streaming on Max.

When Isabela Merced engaged with the creative minds behind “The Last of Us,” namely Craig Mazin and Neil Druckmann, she was already familiar with the narrative elements from the second season of the HBO series, derived from the acclaimed video game “The Last of Us Part II.” However, she was completely unaware of the specific role they envisioned for her. “They only asked me general questions, trying to understand my character better,” she shared in a recent interview, during which she mentioned battling a cold and preemptively apologized for any coughing. The creators quickly cast her in the role of Dina — Ellie’s (played by Bella Ramsey) best friend and romantic interest based in Jackson — and Merced recalls her overwhelming reaction: “Oh my God, this is so much bigger than I thought!”

Dina plays a pivotal role in “Part II,” but since Merced received scripts on a per-episode basis for Season 2, it took her some time to realize that Mazin and Druckmann had elevated her character to a co-leading status alongside Bella Ramsey. This decision eventually made sense to her. “Dina is kind of a clean slate, a blank page in many ways,” Merced explained. The creators, Mazin, Druckmann, and the writers of “The Last of Us,” leveraged Dina’s character to facilitate a smoother transition from the game to the television adaptation. As a source of positivity in Ellie’s otherwise troubled existence—especially after the tragic events involving Abby (played by Kaitlyn Dever) and Joel (portrayed by Pedro Pascal)—Dina becomes a beacon of hope for Ellie, allowing her to tap into the joy she once embraced. “Ellie’s really messed up and angry,” Merced noted. “But every time Dina’s around, it’s like she can instantly access the happiness that she once felt.”

In “Day One,” the fourth episode of Season 2, Ellie and Dina cautiously navigate the post-apocalyptic landscape of Seattle, as they embark on their own quest for vengeance against Abby. While riding on horseback through the historically queer neighborhood of Capitol Hill, the duo contemplates the myriad rainbow flags adorning the area. “I don’t know—maybe they’re all optimists,” Ellie muses.

The episode, crafted by Mazin and directed by Kate Herron, is a monumental piece of storytelling. During this episode, Dina discovers Ellie’s immunity to the cordyceps infection, leading to an emotional confession of their feelings for each other, culminating in their first sexual encounter. Additionally, early in the episode, Dina reveals her pregnancy—her on-again, off-again boyfriend Jesse (played by Young Mazino) is the father—and shares her envisioned plans for their future, which she fears are being jeopardized after Ellie suffers a bite from a clicker. “I thought you were gone, and then suddenly, this future I was imagining—where we’re together and have a baby—seemed to vanish,” Dina expresses. “I don’t know if you even want that.” To which Ellie responds, “I want it with you.”

The action-packed episode “Day One” does not shy away from intensity either. At one point, Ellie is bitten during a complex sequence filled with stunts, as she and Dina confront both the Wolves and a horde of infected lurking in a subway tunnel. Additionally, they bear witness to the horrific brutality inflicted by the Scars, encountering the chilling sight of a room filled with hanged corpses: Wolves who have been lynched and disemboweled.

What a surprising turn of events to lead to such heartfelt declarations of love, right? Yet, that’s the essence of “The Last of Us.” As the episode nears its conclusion, Ellie appears to reclaim her former self, joyfully exclaiming: “So we’re all having a baby. Holy shit! I’m going to be a dad.” However, they are acutely aware of the purpose that brought them to Seattle. The episode wraps up with Ellie and Dina atop the theater roof that has been transformed into their sanctuary, gazing into the distance where they suspect Abby might be. As Ellie attempts to convey to Dina that she doesn’t need to accompany her, given her pregnancy, Dina firmly insists otherwise. Reaching for Ellie’s hand, she asserts “together”—the final image is a poignant moment of them holding hands, somberly staring into the horizon.

Merced, originally hailing from Cleveland, Ohio, began her acting journey in childhood and has appeared in films such as 2019’s “Dora and the Lost City of Gold” and the upcoming 2024 film “Alien: Romulus.” In a comprehensive interview, Merced discussed her experience working with the show’s intimacy coordinator on the pivotal scene between Dina and Ellie, the necessity for her to develop a “secret sign language” with Ramsey during the subway car sequence, and the significance of the show’s LGBTQ representation as a queer actor.

Did you realize how essential Dina’s role would be in Season 2? This really centers around the Ellie-Dina relationship. When did you come to that realization?

I only received one episode at a time, so I was just discovering as I went along. I think the writers wanted to make some changes regarding the transition from the game to the TV show, and because Dina’s character is essentially a blank slate — like a blank page in many ways — they utilize her character as a bridge. Also, Ellie is portrayed as very dark and brooding in the second game, and I feel like they aimed to incorporate more of Ellie’s original essence from the first season and the first game. It’s clear that Ellie is deeply troubled and angry, but every time Dina is present, it’s as if she can access the joy she once experienced.

I also believe Dina aids Ellie in her grieving process, while simultaneously, Ellie helps Dina to grieve. It’s almost as if Dina is redirecting her own grief onto Ellie, thinking, “Oh, I’ll help you.” She embodies that one friend who will support everyone except herself, which is how I perceive Dina.

I didn’t expect this role to become so significant, but I’m genuinely grateful. I also appreciate that they are taking a gradual approach to the romance compared to the game, where it was immediate. I think they’re being very thoughtful in how they present the Sapphic storyline and its authenticity.

Absolutely. However from the very first scenes between Dina and Ellie in the Season 2 premiere, it was clear to me that Dina is attracted to Ellie—long before the New Year’s Eve kiss. Their connection feels so authentic. How did you develop this dynamic with Bella Ramsey?

In reality, we didn’t have much opportunity to cultivate that chemistry. We were focused on a lot of preparation prior to filming and I was simultaneously shooting “Superman.” My primary focus was on physical training. Bella was also engaged in physical training and stunt work, especially since Bella had that intense sequence with the Stalker in the first episode. So, we didn’t have much time to build up our rapport. I was just like, “Okay, it is what it is.” Honestly, I felt nervous more than anything. However, on day zero, we shot that first scene where Dina comes to get Ellie for patrol and teases her about her Converse sneakers. Craig was incredibly excited from that moment onward. Still, I don’t think my anxiety was relieved until we did the camera test, which felt really right.

This article will be published after Episode 4, but in Episode 3, it’s evident that Dina wants something to happen in the tent. Is that how the two of you played it?

It was always about both characters dancing around their feelings, and I think that was something we were careful about. Director Peter Hoar was particularly mindful of which emotions we displayed and when—especially saving the raw emotions for moments when we weren’t looking at each other, and putting on our masks when we were. That scene is incredibly significant because it not only adds to the tension already present, but both characters likely feel guilty for experiencing any sort of excitement regarding their romance. Dina feels guilty because she thinks she’s betraying Jesse, while Ellie feels guilty because she believes she’s betraying Joel.

There was a version where Ellie was admiring Dina’s body in a sexualized way, and you could see her thoughts processing in her mind. However, I’m glad they removed that aspect because I believe it enhances the overall storytelling. It feels less on-the-nose and much more nuanced—I truly appreciate how they are pacing it in this manner.

Dina is integral to Ellie’s survival—thank goodness she’s alongside her. When they enter a music store in Seattle, Ellie sings “Take On Me,” which is also a cutscene from the game. You mentioned during the junket that you loved that moment in the game and were thrilled to see it included in the show. Can you elaborate on why that scene resonates with you?

I mean, I cried when I watched that scene, even though I hadn’t realized I was playing Dina yet, so my tears were genuine. Music has always been an emotional gateway for me. It carries profound significance for so many reasons.

I love that they incorporate the fact that Ellie learned the guitar from Joel. It represents a moment of joyful grief, as there are various facets to grief: the sorrowful type, the kind that ambushes you unexpectedly, and then the joyful type where you mourn the happy moments in a bittersweet way, perhaps shedding tears of joy. I think Dina feels an emotional response because, firstly, Ellie is incredibly beautiful, and she’s adoring her in every sense. Additionally, I believe she’s mourning Joel as well in that moment. In my imagination, I wonder if Dina has ever heard that song before? For her, it’s the first time experiencing that masterpiece, performed privately by the person she loves—about and for the man whom the person she loves loves.

Was Bella Ramsey genuinely singing and playing?

Absolutely, Bella Ramsey is an exceptionally talented musician and has written her own songs over the years. I had the pleasure of hearing her perform behind the scenes. We would often bring in a guitar and play for one another.

The way Dina looks at Ellie with such affection feels incredibly genuine. Can you discuss how you achieved that?

I was excited to shoot that scene, but I also felt very emotional due to the beautiful set design, creating such a sweet and tender moment within the show amidst so much darkness and loss. I was quite emotional that day. Additionally, I believe it was around the time of my period—if I recall correctly. Whenever it’s the first day of my period, I become a wellspring of emotions. It was genuinely challenging for me not to cry. I believe in less is more—expressing emotions through your eyes can often convey more than words. I was grappling with that because I wanted to restrain my emotions a bit more.

At one point, even the director was like, “Hey, maybe try not to cry?” It was genuinely tough for me. This was my struggle throughout the entire scene—trying not to cry. I noticed while watching it recently that there was a shift from the loving gaze to sadness in my eyes. I was trying to recall what I was thinking, and I believe it was a reflection of Dina’s fearlessness. She might appear strong, but throughout the episode, it becomes evident that she is not. I wanted to provide viewers with a glimpse into that vulnerability, as love can be frightening. For her to experience those emotions while simultaneously being fearful of them was crucial for me. I think that authenticity is important.

Opposite to the tender vibe of that scene, Dina and Ellie encounter the grotesque sight of disemboweled individuals who have been executed by the Scars. Were those bodies real, or were they added in post-production?

Those were actually fake bodies, but they looked incredibly realistic and were hung up on the wall. It was utterly terrifying and disgusting, and it truly affected my day being present there. The “uncanny valley” phenomenon exists for a reason: the human brain can only process so much false information that appears real.

Indeed. Was it as disturbing to witness that in real life as it was when you saw it on screen?

Yes, it was unsettling, and the atmosphere was definitely hostile. It reminded me of my experience on “Alien: Romulus,” where there was a constant buildup of tension that ultimately escalated into an adrenaline-fueled survival scenario. I’m grateful for that experience because it certainly prepared me for this role.

During the subway tunnel scene, Dina and Ellie are unexpectedly saved from the Wolves by the infected horde—Dina tries to count them but realizes she doesn’t have enough fingers. Where do I even begin with questions about that massive set piece?

It was massive. Oh my God. It was definitely a challenging shoot. We spent what felt like a week in there, and every chance we got, we’d try to escape outdoors to soak up some sunlight. It was incredibly dark inside.

Additionally, a fun fact about that set is that the set design was supposed to incorporate some soil and dirt, but often they use fertilizer that contains manure. Due to time constraints, they brought in manure that hadn’t had the chance to air out. So most of that experience was filled with an overwhelming stench. It was genuinely disgusting. Moreover, while Dina was doing a lot of cardio, Ellie was also running around, and there were tons of infected—it was just a wild experience with so much happening.

Were those subway cars genuinely rocking? Was it difficult to maintain your balance during the filming?

Yes, they were truly rocking. I believe they might have been on mechanical stands, but at the same time, they had teams of people actively pushing on them. I could feel myself bouncing from one end of the car to the other while simultaneously having to shoot weapons in the correct positions—it was an incredibly chaotic sequence. It took a long time to film.

Because of that experience, Bella and I ended up creating a secret language—this was the sequence where we developed a signal language to communicate about what we were comfortable or uncomfortable with regarding what was being asked of us. We also used it to let each other know if we needed to take a break or if we needed to…

Wait, what do you mean by comfortable with physical interactions?

Yes, comfortable with physical interactions. You never want to be that one person who says, “Oh, I really don’t want to do that”—because then, as a young woman, you risk your reputation. So, we had to ally with one another, communicating first within the safety of our duo, and then we could both say, “Well, we’re both not comfortable doing that.”

In terms of stunts, or what types of —

Yes.

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

Absolutely. They were always present, and most of the time, HBO preferred that they did the stunts. However, Bella is someone who is very enthusiastic about action, and perhaps it’s due to their youthfulness compared to me. I’ve been in this industry for a long time, so I’m like, “Ah, I don’t get paid to do this stuff, so I’m good! There’s someone who has that job for a reason.”

Of course. Did you come out of it all unscathed? Were you okay?

Yeah, honestly, I was fine. I never felt unsafe. They were very attentive to our safety. That’s one of the perks of participating in such a large-budget production.

After Ellie gets bitten, she tells Dina, “I’d die for you. I would, but that’s not what happened”—since Dina is unaware of Ellie’s immunity. Can you discuss filming that poignant scene?

Yes, that was challenging. It was truly emotional. I think I delved into a very dark place to authentically convey that internal struggle, which I had never really experienced before. We probably spent half the day filming that scene—it wasn’t that long, but it felt significant. I wanted the audience to truly believe that Dina might actually shoot her. I needed to feel that internal conflict; otherwise, if I didn’t feel it, then no one else would.

You did an amazing job. You have Ellie at gunpoint, tears streaming down your face—it was incredibly impactful. Was that what you meant about the difficulty of balancing those two emotions, love for Ellie and the notion of, “Yes, I might kill this person”?

Absolutely, it was an intense clash of emotions competing for dominance, and I had to decide when to suppress or release each feeling. In response to Bella’s performance, what she gave me felt genuinely desperate, which only added to Dina’s confusion. Additionally, when Ellie reveals, “I’m immune,” at first, Dina doesn’t believe her and feels a blend of anger and betrayal. It’s almost as if she’s thinking, “If you’re lying, you’re a terrible person. If you’re telling the truth, you’re still a terrible person.” Either way, it’s a scenario filled with outrage, love, confusion, and sadness.

When Ellie doesn’t turn, Dina reveals her pregnancy and kisses her, leading to their first sexual encounter. Did you film that scene in various approaches?

Yes, I’m trying to recall the order of events. We definitely shot the buildup to the kiss and everything after the gunpoint situation. We had ample time to film that, actually—more than we did with the gunpoint scene. They were particularly focused on ensuring the cinematography was on point, as you don’t see Dina for the first part of that scene due to the flashlight, which I think is quite clever. It allowed me to hype myself up and really get into the emotional state needed. Once the flashlight turns off and the torch comes on, the choreography for that moment was intriguing too. It raises the question: why does she turn off the flashlight and grab the torch? How do I make that make sense? Visually, it’s stunning, and I believe Dina wants Ellie to see her fear and her expressions—I’m really proud of how it came together.

How did you manage the intimacy of the sex scene? Did you collaborate with the director Kate Herron, and was there an intimacy coordinator involved?

We worked extensively with an intimacy coordinator named Kathy[Kadler], who was truly fantastic. She made us feel very comfortable, but we had already been working together for over half the season by that point. Ellie and I were genuinely at ease with each other. More than anything, we wanted to ensure that there was a clear sense of consent within that scene, as both characters are in very vulnerable positions. We were detailed about how we approached that scene. Each of us had ideas since we wanted it to be sensual, emotionally charged, yet also realistic, showcasing their relationship and how it would evolve once this barrier was crossed. Specifically, I envisioned Dina being the one to unzip her own pants and guide Ellie’s hand down her body. Although Ellie is technically the one in the dominant position, I believe it illustrates that both characters have agency in the decision to take their relationship to the next level. I think it turned out beautifully, and we made some really thoughtful choices together.

I love that even morning breath matters in the apocalypse. By the way, Dina’s hair looks incredible throughout the series. Are you watching it back and thinking, “Wow, that hair really holds up!”?

Yes, absolutely! It really does!

Finally, they confess their feelings for one another. When Ellie asks, “Why now?” Dina responds that she wants to raise the baby with her, asserting that Ellie is the one. How did you both convey such sweetness in that scene?

They finally put their truth out there. When you finally confess your feelings—putting ego aside and addressing everything else, including fear—your heart opens up, and a natural sweetness emerges. Especially between women, once we feel comfortable with one another, there’s no hesitation in expressing affection. I wanted to ensure that while the most intense part was over, there was still a depth to their love for each other. Everything felt incredibly tender that day; even while filming, Bella and I were just so at ease together. Plus, since we both have experience in queer relationships, you can instantly tell when a girl hasn’t kissed another girl before. We were both already comfortable and fine, so we could truly explore. We added some kisses that weren’t in the original script, creating moments that emerged simply from our comfort with one another.

The episode culminates with Dina and Ellie on the roof, gazing towards where they believe Abby is, holding hands—Dina asserts, “Together.” Having seen the entire season, I know how complex things become, but it’s such a powerful moment. As a queer individual, what does it mean to you to have that representation on such a prominent show?

It’s truly amazing! Nobody really thinks of me as queer, which is fine. I don’t mind; I’m an actor, so I can portray anyone, right? However, it means so much to me personally. I think about people from my hometown who may never have seen this side of me watching this and genuinely getting to know me in a way, helping them see me and themselves reflected on a larger scale. I can picture someone who shares my background: growing up Catholic, suppressing emotions, and desiring to become an actor—there are many individuals with that particular archetype in Ohio!

Especially in Ohio?

Absolutely, or just middle America in general. To me, that representation is incredibly significant and remarkable. What’s particularly exciting about the game and the source material is that it was groundbreaking for its time. We must recognize Halley Gross, who came on board for the second game and was a staunch advocate for Ellie and Dina’s relationship, taking the lead when it came to the physicality and romance—it’s clear that Neil didn’t feel equipped to tell that story or perhaps felt uncomfortable with it. So, a big shoutout to Halley.

Things only get tougher for Dina and Ellie in Season 3. What preparations are you making for that?

It’s going to be strange to act as if I don’t like Bella. It’s going to be challenging because I have such a soft spot for them now. However, I don’t know. I’ve tried to ask Craig, but I don’t think he fully knows how things will unfold yet. I’ve already texted him about my own thoughts and suggestions regarding how everyone reacts to the events at the end of Season 2, particularly considering how Dina—who has evolved significantly from the game—would react to the occurrences that take place. I’m genuinely excited to discuss Episode 7 because I believe it marks a significant shift in their relationship and what happens when the truth is revealed.

Do you know when production is set to start?

No, but I believe it should be next year.