In the fourth episode of The Last of Us season two, Isabela Merced’s portrayal of Dina takes center stage, marking a shift for both the character and her relationship with Ellie. Titled “Day One,” the episode explores a series of personal revelations and difficult choices amid the constant threat of violence.
Merced, who joined the cast this season, appears alongside Bella Ramsey’s Ellie as the two characters begin their trek to Seattle in pursuit of retribution after Joel’s death. As they move through hostile territory, including encounters with the Washington Liberation Front, dead Seraphites, and infected attackers, their connection grows in ways that alter their dynamic. A central moment in the episode comes when Ellie discloses her immunity to the Cordyceps parasite, and Dina shares her pregnancy — a decision point that continues to influence her behavior.
Merced explained that Dina’s commitment to the mission, despite being pregnant, is driven by reasons that will become clearer later. “Everyone thought Dina was doing this for Ellie and Joel,” she said. “But she has her own reasons, too.” The actress said she looked to her mother for inspiration, describing her as someone who would protect others no matter the risk. “She would get even if she weren’t able to guarantee she would make it.”
The episode also includes a moment long anticipated by fans of the original game: an intimate scene between Dina and Ellie. The sequence was guided by an intimacy coordinator and rehearsed with intention. “It may seem passionate and in-the-moment, but it was really calculated,” Merced said. “We were intentional about every single thing… to make sure none of the characters were doing anything that didn’t feel true.”
Merced described how the emotional range of the role required exploring internal conflict, particularly regarding identity and mourning. One moment that captured this was Ellie’s acoustic performance of A-ha’s “Take On Me.” As Dina listens, her reaction reflects affection mixed with sadness. “A lot of the love Dina has for Ellie is thanks to Joel,” Merced said. “It’s a happy sort of grieving for Joel… when she gets sad, it’s actually because the feelings she has for Ellie potentially scare her.”
Some viewers reacted to previous dialogue around Dina’s sexuality, interpreting it as ambiguous or inconsistent. Merced responded by emphasizing the reality of uncertainty. “Every baby gay should be allowed to be confused,” she said. “I think Dina really does have feelings for Ellie and is just really confused about it. That was a really relatable experience for me.”
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She noted that the characters live in a world where terms and labels from the pre-pandemic era no longer circulate. “They don’t know what Pride is. They don’t know what the LGBTQIA+ community is,” she said. “Every time she does accept her feelings for Ellie, she feels conflicted when it comes to her experience with Jesse.”
Dina’s decision to move forward while pregnant adds weight to her character arc. The subway sequence, where Ellie is bitten while defending Dina, amplifies that pressure. For a brief moment, Dina must consider whether to trust Ellie’s claim of immunity or act on instinct. “There’s a lot of questioning,” Merced said. “It didn’t matter what Ellie said. The whole situation is just really complicated.”
Behind the scenes, Merced took steps to immerse herself in the show’s creative process. She asked to join editing sessions and VFX meetings, a move that gave her insight into the craft beyond acting. “There’s no such thing as too many takes,” she said. “You realize how sacred and magical it is to get a perfect take. It completely changed how I view acting.”
During those editing sessions, she also came to appreciate Pedro Pascal’s performance on a new level. “Watching Pedro… I learned his little micro idiosyncrasies and nuances. This man is such a special actor,” she said.
One of the most demanding scenes in the episode — a close-quarters confrontation with the infected inside an abandoned subway — proved formative for both Merced and Ramsey. The setting, with poor ventilation and difficult conditions, became a space where their off-screen bond grew. “That was the sequence where we really got up close and ended up creating a secret language,” Merced said.
The episode includes references to in-game mechanics that fans of the original title may recognize. One such moment occurs when Dina counts the sounds of infected while crouching — a technique drawn from stealth elements in the game. “My favorite part of that sequence is when Dina is counting the infected noises… incorporating that element in a more clever way,” Merced said.
The emotional complexity of Dina’s relationship with Jesse is also addressed. Though she cared for him, Merced said, Dina’s feelings for Ellie introduced a shift in her understanding of herself. “I think with acceptance of feelings for Ellie naturally comes her acknowledgement of her relationship with Jesse,” she said. “And an acceptance of like, ‘Damn, I was really just forcing myself into complicit heterosexuality.’”
Merced credited co-creator Craig Mazin and co-executive producer Halley Gross for writing the relationship between Dina and Ellie with nuance and emotional truth. “People are really multifaceted and fascinating and layered,” she said. “I have to thank Halley a lot for Dina.”
The Last of Us airs new episodes Sundays on HBO and Max.
