IMPORTANT SPOILER NOTICE: This article contains crucial plot details from “Day One,” Season 2, Episode 4 of “The Last of Us,” currently available for streaming on Max.

During her meeting with the visionary creators of “The Last of Us,” Craig Mazin and Neil Druckmann, actress Isabela Merced was already familiar with the source material for the second season of the HBO series, specifically the renowned video game “The Last of Us Part II.” However, she had no idea about the significant role they envisioned for her. “They simply asked me general questions, trying to dive deep into my character,” Merced shared in an interview earlier this week, noting that she was battling a cold and apologized in advance for any coughing. Almost instantly, Mazin and Druckmann cast her as Dina — the beloved friend and romantic interest of Ellie (played by Bella Ramsey), who resides in Jackson. Merced recalls thinking, “Oh my God, this is so much bigger than I thought!”

Dina plays a pivotal role in “Part II,” yet since Merced only received one script at a time for Season 2, it took her a while to understand that Mazin and Druckmann had elevated her character to a co-lead alongside Ramsey’s Ellie. However, this decision resonated with her. “Dina is kind of a blank slate and a fresh page in many ways,” Merced said. The creative team behind “The Last of Us” had the opportunity to utilize Dina’s character to facilitate a smoother transition from the video game to the television adaptation. Since Dina, as portrayed in the series, provides a glimmer of hope in Ellie’s otherwise bleak and challenging life — which becomes even more tragic after Abby (played by Kaitlyn Dever) exacts brutal revenge on Joel (played by Pedro Pascal), killing him in front of Ellie — it is only in Dina’s presence that Ellie transforms back into the joyful character audiences fell in love with in the show’s inaugural season. “Like, OK, Ellie’s really messed up and angry,” Merced noted. “But whenever Dina is around, it’s like she’s suddenly able to access the joy she once felt.”

In the fourth episode titled “Day One,” of Season 2, Ellie and Dina cautiously traverse the streets of Seattle, on a mission to find Abby and exact their revenge. As they ride horseback through the city’s historically queer Capitol Hill neighborhood, they ponder the meaning behind the numerous rainbow flags they encounter. “I don’t know — maybe they’re all optimists,” Ellie muses.

This episode, penned by Mazin and directed by Kate Herron, is a monumental piece of storytelling. Dina eventually discovers that Ellie is immune to the cordyceps infection, leading to a heartfelt confession of feelings between them, culminating in their first sexual encounter. Additionally, Dina reveals early in the episode that she is pregnant, with her on-again, off-again boyfriend Jesse (played by Younger Mazino) as the father. She shares her dreams of their future together, which she sees fading after Ellie is bitten by a clicker. “I thought you were gone, and then suddenly, this future I was imagining — where we’re together and have a child — didn’t seem possible,” Dina expresses. “I don’t know if you even want that.” Ellie responds with heartfelt sincerity: “I want it with you.”

“Day One” is packed with intense action as well. Ellie is bitten at the climax of a dynamic, stunt-filled sequence where she and Dina confront both the Wolves and, as they descend into a subway tunnel, a horde of infected individuals. They also bear witness to the horrifying brutality of the Scars when they stumble upon a chilling scene: a room filled with hanged corpses — Wolves that have been lynched and disemboweled.

What a strikingly unexpected episode to bring forth such heartfelt declarations of love, isn’t it? Yet, that’s the essence of “The Last of Us.” As this episode nears its conclusion, Ellie appears to reclaim her former self, joyously exclaiming, “So we’re all having a baby. Holy shit! I’m going to be a dad.” However, they are acutely aware that their presence in Seattle serves a significant purpose. The episode concludes with Ellie and Dina, perched on the roof of the theater that has become their sanctuary, gazing towards the direction they believe Abby is hiding. When Ellie attempts to assure Dina that she doesn’t need to accompany her due to her pregnancy changing everything, Dina gently insists. She reaches out her hand, affirming “together” — the final image captures them holding hands, staring grimly into the distance.

Originally hailing from Cleveland, Ohio, Merced began her acting career at a young age and has appeared in films such as the 2019 release “Dora and the Lost City of Gold” and the upcoming “Alien: Romulus” set for 2024. In a wide-ranging discussion, Merced delved into her experience collaborating with the show’s intimacy coordinator on the scene where Dina and Ellie first share a sexual encounter, how the subway car sequence necessitated her and Ramsey to develop a “secret sign language,” and the significance of LGBTQ representation in media as a queer actress.

Did you realize how vital Dina’s role would be in Season 2? This is truly the Ellie-Dina season. When did you come to that realization?

I only received one episode at a time, so I was just learning as I went along. I think the writers aimed to make some changes regarding the transition from the game to the television adaptation, and since Dina is a blank slate — a clean page in many ways — they used her character to bridge that gap. Additionally, Ellie is portrayed as quite dark and brooding in the second game, and I feel they wanted to ensure they incorporated more of Ellie’s essence from the first season and the original game. Like, yes, Ellie is really messed up and angry, but every time Dina is around, it’s like she instantly accesses the joy she once felt.

I also believe Dina assists Ellie in processing her grief, while Ellie also helps Dina cope with hers. I view Dina as someone who redirects her grief and focuses it on Ellie, embodying that friend who will support everyone but neglects her own needs.

I didn’t anticipate this role to be so significant, but I am genuinely grateful. I also appreciate that they are taking a slow-burn approach to the romance, as opposed to the game, where it was immediate. I believe they are being very thoughtful about how they present the Sapphic narrative, ensuring it feels authentic.

Absolutely! However it was evident to me from Dina’s and Ellie’s initial scenes together in the Season 2 premiere that Dina harbors feelings for Ellie — long before the New Year’s Eve kiss, even. The connection feels so genuine and lived-in. How did you cultivate that chemistry with Bella Ramsey?

In truth, we didn’t have the opportunity to build that chemistry extensively. We were busy preparing prior to filming the season, and I was also shooting “Superman” concurrently with this project. I was mainly engaged in physical training. Bella was also busy with physical training and stunt work since she had that intense sequence with the Stalker in the first episode. So we didn’t have much time to connect. I was just rolling with it, thinking, “Alright, it is what it is.” I mean, I was nervous, more than anything. But on the first day, we shot that initial scene where Dina comes to get Ellie for patrol and teases her about her Converse shoes. Craig was thrilled from that moment on. However, I don’t think my anxiety was alleviated until we did the camera test, which just felt incredibly right.

This story will air after Episode 4, but in Episode 3, it’s clear Dina desires something to happen in the tent. Is that how the two of you approached it?

It was always about them both navigating their emotions, and I think that was something we needed to be cautious about. Director Peter Hoar was very intentional about what emotions we portrayed and when — especially reserving the authentic feelings for when we weren’t looking at each other, and putting on a mask when we were. That particular scene is crucial because it not only adds to the existing tension but also highlights that both characters likely feel guilty for experiencing any sense of joy regarding their romance. Dina feels guilty because she thinks she’s betraying Jesse; Ellie feels guilty because she believes she’s betraying Joel.

There was a version where Ellie is checking out Dina’s body, and it had a more sexual undertone? And you could see her internal thoughts. However, I’m really glad they removed that because I think it’s smarter for the overall narrative. It feels less overt and much more nuanced — I genuinely appreciate that they are pacing it in this way.

Dina’s survival is crucial for Ellie — without her, Ellie would have perished in the first minute! Thank goodness Dina accompanies her. When they reach Seattle, they enter a music store where Ellie sings “Take On Me,” a scene directly lifted from the game. You mentioned during the junket that you adored this scene from the game and were thrilled it made it into the show. Can you share why it resonated with you?

I cried when I watched that scene, even before I knew I would be playing Dina — those were genuine tears. Music has always been a profound way for me to connect with my emotions. It holds immense significance for a multitude of reasons.

I love how they incorporate Ellie’s guitar skills, learned from Joel. It’s a moment of bittersweet joy, highlighting the many facets of grief: the sad kind, the surprise kind, and even the joyful kind — where you find yourself grieving the happy moments with a sense of joy, perhaps shedding a happy tear. I think for various reasons, Dina feels emotional in that moment because Ellie is incredibly beautiful, and she is adoring her in every way. Additionally, I wonder if Dina has ever heard this song before. To her, it’s the first time she’s experiencing this masterpiece, delivered by the person she loves — about and for the person that her beloved also loves.

Was Bella Ramsey actually singing and playing?

Yes, Bella Ramsey is an incredibly talented musician and has shared her own songs over the years. I had the privilege of hearing her play behind the scenes. We would often bring a guitar and play for one another.

The way Dina gazes at Ellie with such affection feels incredibly authentic. Can you elaborate on how you achieved that depth?

I was excited to shoot that scene, but I was also deeply emotional due to the stunning set design, which created an incredibly sweet and tender moment in the show amid so much darkness and loss. I felt very emotional that day, and perhaps it was the first day of my period — I believe I remember it was. Whenever it’s the first day of my period, I tend to be an emotional wellspring. It was genuinely challenging for me to hold back tears. I always believe that less is more — conveying emotions through your eyes is often more powerful than excessive dialogue. So, I struggled with that during the scene, as I wanted to reserve my emotions a bit more.

At one point, even the director suggested, “Hey, maybe try not to cry?” It was really, really tough for me. That was my ongoing challenge throughout the entire scene — just trying not to shed tears. When I watched it recently, I noticed a shift from the loving gaze to a sadness in my eyes. I was trying to recall what I was thinking, and I believe it was simply that I wanted to convey that Dina isn’t fearless. She may appear resilient, but throughout the episode, you learn that she struggles. I wanted to offer viewers a glimpse into that, as love can be terrifying. For her to experience those emotions while simultaneously being afraid of them was incredibly important to me, as I believe it adds a layer of realism.

In stark contrast to that scene’s vibe, Dina and Ellie then encounter disemboweled, lynched individuals who have fallen victim to the Scars. Were the bodies real, or were they added later?

Those were actually fake bodies, but they appeared incredibly realistic and were hung on the wall. It was utterly terrifying and disgusting, and it genuinely affected my mood for the day. The term “uncanny valley” exists for a reason: the human brain can only process so much false information that seems real.

Absolutely. Was it as unsettling to witness that in person as it was on screen?

Yes, it was disturbing, and the atmosphere was undoubtedly hostile. It reminded me a lot of my experience with “Alien: Romulus,” where it was just one level of fear leading to another, ultimately building up to the adrenaline rush that comes with survival. I’m grateful for that experience, as it certainly prepared me for this.

In the subway tunnel scene, Dina and Ellie are actually saved from the Wolves by the infected horde — and Dina tries to count them, but she runs out of fingers. Where should I start with questions about this sequence? It was such a massive set piece.

It was huge. Oh my God. And it was definitely a challenging shoot. I believe we spent a week there, although it felt like a blur. Whenever we could, we would try to escape outdoors and catch some sunlight. It was incredibly dark inside.

One fun fact about that set is that the set design was supposed to incorporate soil and dirt, but often they used fertilizer containing manure. However, they didn’t have enough time to prepare it, so they brought in the manure without airing it out. So, for most of that shoot, it smelled awful. It was genuinely unpleasant. Additionally, Dina was doing a lot of cardio, and Ellie was running around a lot. There were tons of infected, and it was just a wild experience with so much going on.

Were those subway cars actually rocking? Was it difficult to maintain your balance?

Yes, they were indeed rocking. I believe they might have been on some sort of mechanical stands, but at the same time, there were actually teams of people pushing them. I could actively feel myself bouncing from one end of the car to the other while also needing to shoot the weapons in the right spots — it was a truly chaotic sequence. It took a considerable amount of time to film.

Because of that experience, Bella and I ended up developing a secret language — this was the sequence in which we created a sign language to communicate with each other regarding what we were comfortable with or uncomfortable with concerning the physical demands of the shoot. We also used it to signal if we needed to take a break or if we had to…

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

Yes, comfortable physically. You never want to be that one person who says, “Oh, I really don’t want to do this,” because then as a young woman, you risk your reputation. So we needed to be allies for each other and communicated first within the safety of just the two of us, and then we would say, “Okay, we’re both going to express our discomfort.”

In terms of stunts, or what kinds of —

Yes.

So you could tap in a stunt double if needed?

Yes, absolutely. They were always available, and most of the time HBO preferred that they handled it. However, Bella is someone very passionate about the action, and maybe it’s because they are younger than me, while I’ve been doing this for a long time, I’m like, “Ah, I don’t get paid to do stunts, so I’m good! There’s someone who has that job for a reason.”

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

Yes, honestly, I was fine. I never felt unsafe. They were really on top of things. That’s one of the perks of being part of a high-budget production.

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

Yes, that was incredibly challenging. It was quite emotional. I think I had to delve into a very dark place to authentically feel that internal struggle, a feeling I had never truly experienced before. We likely spent half the day on that scene — it really wasn’t that long. I needed the audience to believe that Dina might actually consider shooting her. So I had to genuinely feel that conflict; otherwise, if I don’t feel it, then no one else will. That’s my philosophy.

Well, you did a fantastic job. You have Ellie at gunpoint with tears streaming down your face — it was incredibly effective, in my opinion. But was that what you meant about the challenge of holding those two conflicting emotions, where your love for Ellie is there, yet you’re also thinking, “Okay, yes, I might kill this person”?

Yes, it was two extreme emotions vying for dominance, and I had to decide when to hold back and when to unleash. Based on Bella’s performance, I felt that what she brought was really authentic and desperate, which only confused Dina further. Additionally, when Ellie reveals, “I’m immune,” at first, Dina certainly doesn’t believe her. It feels almost like a “If you’re lying, you’re a piece of shit. But if you’re telling the truth, you’re still a piece of shit.” Essentially, it’s a “How dare you?” scenario. So there’s a lot of anger, love, confusion, and sadness wrapped up in that moment.

And when Ellie doesn’t turn around, Dina reveals her pregnancy, kisses her, and they share their first sexual experience. Did you film that scene in different ways?

Yes, I’m trying to recall the chronology. I believe we definitely shot the buildup to the kiss and everything after the gunpoint situation. We had ample time to film that, actually — more time than we did during the gunpoint scene after the bite sequence. They really wanted to ensure the cinematography was flawless, especially since you don’t see Dina at the beginning due to the flashlight, which I think is quite clever. It provides me an opportunity to hype myself up and genuinely feel anxious to get into that emotional space. Then the flashlight turns off, and the torch is on. The choreography was intriguing as well, as I had to contemplate why she turns off the flashlight to grab the torch. It had to make sense practically and visually. But I do believe it makes sense: I think Dina wants Ellie to see her vulnerability and her expression.

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

We worked extensively with an intimacy coordinator named Kathy [Kadler], who was fantastic. She made us feel incredibly comfortable, and we had already built a rapport over more than half the season by that point. Ellie and I were genuinely at ease with one another. What we aimed for was to ensure that, above all else, there was a clear sense of consent in the scene, as both characters are in very vulnerable positions. We meticulously planned that scene, wanting it to be sexy, emotional, and charged, while also realistic, showcasing how their relationship evolves once this barrier has been crossed. Specifically, I wanted Dina to be the one to unzip her own pants, guiding Ellie’s hand down her body. Although Ellie is technically in the dominant position, I believe it highlights that both characters have agency in this decision to take their relationship to the next level. I think it turned out beautifully, and we made some really thoughtful choices.

I appreciate that morning breath matters even in the apocalypse. By the way, Dina’s hair looks incredible the entire time. Are you watching it back and thinking, “Wow, this 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 and that Ellie is the one. How did the two of you bring such tenderness to that moment?

They finally lay everything bare. When you finally confess your emotions — putting ego aside, setting aside issues and fears — it opens your heart, creating a sweetness in the moment. Especially among women, once we feel comfortable with each other, there’s often no hesitation in expressing love. I wanted to ensure that, while the most tense part is over, there’s still an intensity to their love for one another. Everything felt so tender that day; even while filming, Bella and I were just so comfortable with one another. Additionally, we both have experiences in queer relationships — you can tell when someone is inexperienced with kissing another girl. So we were both fine and at ease, allowing us to really explore the moment. We added some kisses that weren’t in the original script and incorporated moments that emerged from our comfort with each other.

The episode concludes with Dina and Ellie on the roof looking towards where they believe Abby is, holding hands — and Dina says, “Together.” Having seen the entire season, I understand how complex things become, but that moment is so powerful. As a queer individual, what does it mean to you to see that level of representation on such a large show?

I mean, it’s amazing! No one really thinks I’m queer, which is fine. I don’t really care. I’m an actor, so I can portray anyone, right? But for it to mean so much to me personally is wonderful and significant. I think about people from my hometown who may have never seen this side of me watching this and really getting to know me in a way, understanding me, and seeing it on a grand scale. I also picture someone who might be like me: grew up Catholic, suppressed their emotions, and perhaps aspires to be an actor — you’d be surprised at how many of those archetypes exist in Ohio!

Especially in Ohio?

Yes, or just in middle America. To me, that is really, really important and amazing. And that’s what was so cool about the game and the source material: it was truly ahead of its time. I mean, we owe much of the lesbian love story to Halley Gross, who was brought in for the second game and was a fierce advocate for Ellie and Dina’s relationship, taking the lead on the physicality and romance because I believe Neil didn’t feel he was the right person to tell that story or perhaps wasn’t comfortable with it. So yes, shout out to Halley.

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

It’s going to feel strange acting as if I don’t like Bella. It’s going to be tough because I have such a soft spot for them now. But I don’t know. I’ve tried asking Craig, but I don’t think he fully knows yet how things will unfold. However, I have my own input that I’ve texted him about, suggesting how everyone might react to the ending of Season 2, and how I envision Dina — now that she has evolved significantly from the game — would respond to the events that transpire. I’m eager to discuss Episode 7 because to me, it signifies a significant shift in their relationship and what occurs when the truth is revealed.

Do you know when production will begin?

No, but I believe it should be next year.

Can’t come soon enough!

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