‘The Last of Us’ Star Isabela Merced Talks Dina and Ellie and ‘Peacemaker’ Season Two

Any good feeling in The Last of Us is fleeting. After last week’s episode cemented the love story between Ellie (Bella Ramsey) and Dina (Isabela Merced), this week’s installment, “Wolves,” puts the pair right back into the thick of it. While the two got a taste of the ongoing war between the Seraphites and the Washington Liberation Front, aka the Wolves, Dina and Ellie get more than they’ve bargained for this time, running across both groups in a way that proves just how dangerous Seattle is, intensifying the already high stakes. Doubly so if, like Dina, you’re newly pregnant.

“Wolves,” helmed by veteran television director Stephen Williams and once again written by series co-creator Craig Mazin, allows Ellie to offer Dina one last option to pull off the road before the going gets tougher. Instead of shying away, Dina doubles down, telling Ellie (and the audience) a harrowing story about her past. This powerful revelation not only proves why Dina’s willing to go to the edge of the earth for Ellie but also underscores the strength of their bond, giving critical insight into the whys and wherefores of Dina’s personality.

Isabela Merced’s performance as Dina is one of season two’s biggest and most welcome surprises, as the young actor is putting on a superlative showcase for her talents ahead of a big summer with turns in both Superman and a recently revealed appearance in the sophomore season of Peacemaker. In the wake of last week’s barn-burner and this week’s tension-filled episode, GQ sat down with Merced for a conversation around how Dina uses humor to deflect, motherly inspiration for her character, the importance of a queer love story, insight into that Peacemaker appearance, and much more.

GQ: How were you, Bella, and Craig working to ensure the love story between Ellie and Dina unfolded at a pace that felt even?

Isabela Merced: We definitely had a restructuring of the story from the game, and I really appreciated that. I love when adaptations change a few things, hence the name, but I also appreciated it as an actor. It gave me much more to chew on. The scene where I'm holding Ellie at gunpoint is so conflicting, so charged, and it comes to a really great climax—no pun intended—and ends with the really sweet scene between the two of us and Dina explaining where she's at mentally, with the pregnancy, what's going on there. It allows Ellie's growth as a character to also shift simultaneously. Next episode, too, episode five…you then start to understand why Dina, being pregnant, is still gung-ho about the whole revenge plot against Abby.

You mentioned elsewhere that when you and Bella where doing the sequence in the theater at the end of the episode that they [Ramsey, who uses they/them pronouns] helped navigate through those moments. Can you share some insight into just how they helped you?

Well, Bella's really levelheaded, calm, and tends to be a bit more introverted, whereas I tend to be very extroverted. Having their energy balanced me out. We had each other's back. I was always encouraging Bella to be more outspoken about what they need, when they need it, and to really play a bit more in the scenes. Even though Bella's really good at being fun, I think when it comes to romance, it's a different beast. But we felt really, really comfortable with each other. We had an allyship. Before we even started shooting, I called up Bella asking for advice as to what the set energy is like, how prepared should I be, and what do they prefer when it comes to any approach to the scenes pre- and post-production. Bella gave me a rundown, but overall, wasn't making it sound like it was going to be that crazy. I just found that hard to believe, but they ended up being very correct about that. It was a very surprisingly relaxed and fun set to be on, despite the material that we're working with.

One of the standout moments for me in episode four is when Dina and Ellie are on the roof, and Dina recommits herself by saying that “together” line. Did that have any extra importance or significance when you filmed it?

What I really loved about it was the devastation of the reality that we might be heading into. We are heading into something that is much bigger than us. It was terrifying, and also beautiful and romantic. When I was accessing that emotionally, it was something I'd never been through other than with my family. So to have it be someone, a romantic connection, it was a feeling that made me kind of sad I hadn't felt yet. It felt real in the moment, and it's something that I look forward to feeling in the future. That sort of devotion and blind faith that some could say is synonymous with delusion.

When do you think is the moment that Dina first fell in love with Ellie?

Dina had always been infatuated with Ellie, I think, due to their dynamic as people. Then, for me, the moment that she fell in love was when Ellie was playing "Take on Me." It was really palpable that day, and it wasn't even that suggested. It was something we felt grow in the room with us, and it was very magical.

A lot of episode five involves Dina starting to open up to Ellie about her past. Do you think this would have eventually happened even if they hadn’t bonded the way they did in the last episode?

I think it was a moment thing. It depended on the circumstances. In another world where Dina, when she initially came out, wasn't rejected by her mother and turned down, or where her first time kissing a girl wasn't followed by a homophobic slur, I think there is an opportunity for her to overcome those obstacles eventually, that hesitation, and maybe they end up together happily ever after. It's unfortunate these are the circumstances, but one cannot deny their sexuality for their whole life. It'll come up naturally, and it's all circumstantial when it comes to when that plays out.

Is the tragedy of Dina's backstory why she has a tendency to deflect with humor?

Oh yeah, absolutely. That was a big component for me as well, to make sure that came across. I think Dina's way of processing her trauma is very blunt. In a way, that transpires and shows itself in her humor. Her humor is also very blunt, so she'll take dark things and give them levity. She's done that throughout the whole apocalypse, actually. That is a great coping mechanism that we don't see often in these post-apocalyptic shows. We see it, maybe, with goofy characters, but they tend to be a bit more one-dimensional because there's not a lot of time to explore them.

So this was a cool and rare opportunity for me. I love the way that she was written. Craig Mazin really sees me, and I understand his humor. A lot of his own personal humor is infused into Dina. Sometimes when I would be delivering certain lines, I would just think, "How would Craig Mazin deliver this?" Another person that I accessed a lot when it came to Dina, in certain scenes where she's taking charge, is probably my mom, honestly. My mom is really gung ho about a list, a schedule, and organization. Whereas I'm more lax and type B. When it came to "Boom, boom, boom, this is what we're doing here. We're going to be here, don't be late," that was very much so in my mother's tone mixed with a little bit of Craig's humor. I definitely look to the people around me, the people that I love, to shape these characters.

After they’ve cemented this bond, Dina starts to step up and be more of a true, equal partner as the two head into the next stage of their relationship. How important was it for you to show this evolution?

We've discussed this at length in regards to the first season, when it comes to my conversations with Bella, personally, about the characters and where they're going with them. In a lot of ways, Ellie becomes Joel. Dina becomes the Ellie of this season because this show's notorious for following two people intimately on a journey with one common goal and mission. With that, it's important you have the humor that Ellie had, that Dina reminds her of throughout the journey and brings out of her occasionally. Which is exactly what Joel and Ellie's dynamic was. When it comes to the planning and stuff, I think they added a lot of value to Dina's character and made them more of a dynamic couple by making sure that Ellie [is] the brawn of the mission and the one who is probably physically a lot more capable. Dina had her own strengths that were more intelligence-based, so it made her a devoted, capable, and loyal partner.

Also, Ellie is impulsive, lest we forget. Ellie was hotheaded in the first season, and it's important that even though she's aged, she still carries some of that stubbornness in her, and that someone's able to clock it. Otherwise, in this version, Ellie could very well be dead without Dina's help. I noticed that in the game, too. Dina was very helpful, not so much in combat. I will say I had a little bit of trouble. Dina wasn't always the best when it came to being a shooter, but this is a bit different than that and a good change, I think, in the adaptation.

I noticed in the framing director Steven Williams did in this episode is that Dina’s leading the charge as they walk through the city, as she’s telling the story about her past. Was that intentionally blocked that way?

I'd have to ask Craig Mazin about that. You'd have to ask him about that. It was all introduced to me also each week with the script. For me, a big physical example of that, other than just the plans and lists, was Dina being the sound assist, where she's counting the clickers. She can even differentiate the tones of the clickers. That just goes to show how perceptive she is. Their similar impulsivity allows them to make semi-dumb decisions when it comes to the battles they choose, but also leads them to plow through the plot and get to the really juicy scenes. That was probably my favorite addition, Dina counting the clickers and her ability to distinguish the differentiation in tone of each clicker screech.

Dina says it doesn't matter how she got to Jackson, but did you and Craig come up with a backstory for that at all? Or is it one of those situations where it truly doesn't matter?

It was probably a traumatic story that I am hoping Craig will get into. It was something else that we didn't want to dive into, so I didn't want to know until Craig told me, basically. Craig's definitely done a great job of answering all my questions when I have them, but he's also a guy who's very present in the story and won't divulge unless it's helpful to the storyline. He even told the actors, "Don't play the game if you can." He's very careful with what information he shares with us.

Would you want to have a standalone episode where we get to see more of that?

It would be an actor's dream to have a standalone episode in this series. But honestly, only if it serves this storyline. I'm aware of my place in the grand scheme of things, and I'm happy with whatever I can get.

How important it's for you to play a part in depicting a queer relationship like this on television?

It resonates really deeply with me—somebody being closeted out of being complicit and somebody who has accepted, maybe suppressing their queerness for their environment, basically, and to adapt. I grew up in Ohio, raised Catholic, severely Catholic. I was baptized, communionized, and confirmed, so I definitely only got to explore that side of me, really [trails off for a second]—actually not that late, but my acceptance of it was late. I think the first time I was exposed to the gay community was on Broadway when I did Evita at 10; I was actually there the day they legalized marriage, and we were working. Seeing that joy and their freedom to finally be able to marry the people that they love, as simple as it may seem, sparked something in me and a warmth towards this community that I hadn't really considered that much. I didn't even know of its existence, really.

It warmed my heart when they go to Seattle and they're in their pride town and not aware of even what it means. It reminded me of my own journey of being introduced to that, and how much it's grown. The fact [that] it's a central storyline for a character that I love, being presented worldwide in such a huge way, feels very full circle to me. I even have friends from Cleveland texting me and congratulating me. It's cool they get to see that side of me that I suppressed for a really long time.

I asked Gabriel this question, but I’m curious about your perspective on it. What do you think the story is trying to say about that fine line between justice and vengeance?

We all like to take fate into our own hands, thinking we can play a bigger part in it than the universe does. It's about our inability to accept that we can't play God, and we can't justify things in our journey for vengeance. I think a huge portion of that is a commentary on the karmic cycle that we perpetuate in our lives. I really believe in that. It can be generational, it can be carried in one individual and perpetuated til the end of time, until someone breaks that cycle. I think they try to say that vengeance will never appease you, it will only drive you mad, and usually the thing that you're running from is the thing you're running towards.

You’ve spoken a lot about spending time behind the scenes, being in the edit room, or even just spending a lot of time on set during this and then going on to direct your own music video. Would directing an episode of the show or other shows on your radar as a goal?

Oh my God, yeah. I would take any opportunity. I love control. I love controlling the environment, like having a good team around me. I think I'm taking it slow because I know a director is only as good as their team, so I have to take the time to meet those people that I really want to work with and share my soul with. One of those people, if he'll have me, would be Craig Mazin. I would want him to be my godfather on everything that I do. I really do trust his input, his brain, his kindness, and his ability to work with people. I've been most inspired by him when it comes to head honchos on set. He's definitely got what it takes and has taught me, more than anything, to believe in myself.

If that opportunity ever came up, I would absolutely jump at it, but I would still be hesitant because I know I'm young and I have a lot of life to live. Someone can come up with shit to say, but at the end of the day, they'll only say it when it's supposed to come out. I am trusting the process and that the universe will guide me where I need to go.

Music’s a really big part of The Last of Us. Is there a song that exemplifies or unlocked the Ellie/Dina relationship for you?

There was a song recently that I was like, "This is it. This is it for me." I can't even remember what it was, but the more that I'm sitting with it, "Zombie Girl" by Adrianne Lenker, not only speaks on their current relationship, but also what happens emotionally throughout the whole season. Not just where we are now, but where it ends. It's like losing someone you love and only being with the ghost of them, basically. A lot of the lyrics are about [how] she's with this person, but there's emptiness there now. "Maybe I've been getting you wrong. I cover you with questions, explanation, music, and then I only dream of who you were," is the message. It's really sad, but it's also someone just wanting to truly connect with someone once again.

I think there was some surprise when the Peacemaker season two trailer dropped and you were a critical part of that. I know you probably can’t talk too much about it, but what was it like being with James Gunn in that more comedic tone and environment?

It was so much fun. Sean Gunn is so amazing. I'm really glad they cast him as Maxwell Lord. I love Peacemaker. I'm a huge fan of it. It's so raunchy, so real, and actually genuinely funny. It's one of those productions that you can feel they had fun making it. I feel like that's every James Gunn production. The energy translates so beautifully, and they're really in the business of making sure the environment's great. That's exactly what it was. It was in the middle of filming Superman and The Last of Us, so I had to squeeze that in there. I thought it was a really clever scene. I'm excited to be able to see the rest of it.

When are you going to take a break? [laughs] I feel like you're working so hard right now.

Never, hopefully. I'm crazy, and I'm actually far busier when I'm unemployed and when I'm just doing self-employment side quests. I just like to stay busy. I actually like to work, to be inspired by people, and the things that I'm doing. I'm always working on my own projects as well, trying to get those in development. So many side quests aside from what I'm getting interviewed about, usually. That keeps me really engaged, I think, as an artist, so that when I get back on set, I'm not like, "Hey, what is acting?"