I could really see the love in Dina’s eyes earlier in the episode, during Ellie’s performance of “Take On Me.” What were you aiming to convey there?I
I could really see the love in Dina’s eyes earlier in the episode, during Ellie’s performance of “Take On Me.” What were you aiming to convey there?
I didn’t want it to be so emotional. I was actually trying to hold back. But it was just a really handsome moment. That set was stunning, the greenery, the flowers peeking through. And Bella’s voice just being angelic and pure, and also it being a moment of elated grieving. And then, on top of that, Dina is in denial of the situation. I started crying. I think that could be up for interpretation, because I played it various ways, and I don’t actually know which one they chose. But there was a version where I was depressed because of Joel, and knowing that the reason I love Joel is because I love Ellie, and the reason I love Ellie is because I love Joel. And then there was another version where maybe it’s just Dina being scared—like, Oh shit, I’m in love with this person. And she knows she’s pregnant by then, so it’s terrifying and complicates everything.
You mentioned Dina being bisexual, but maybe not even quite knowing what that means. I got a chuckle out of Dina and Ellie not understanding the rainbows. But then I started thinking—these two have grown up entirely in a zombie apocalypse, so they probably don’t know queer culture. Was that something that you thought about in your approach to the character and this relationship?
Yeah, absolutely. I think it contributed to her confusion about sexuality and what it could be. They don’t know what pride is, what the LGBTQ community is. Dina doesn’t even know the word bisexual. Think about a world without all that. It makes it kind of depressed, because you wonder what they’re missing out on—and the preciousness of the inclusion they could feel. And maybe a solution to them feeling like outcasts, where Dina is conforming and Ellie is accepting that she’s not like the other residents of Jackson.
Ahead of the season, you were quoted as promising that “the gays are going to be fed.” So I have to ask: Is this what we were talking about? Is the feeding complete, or is the feeding just getting started?
[Laughs] I feel like this was the appetizer. I can’t believe I said that. I can’t believe I’ve ever been interviewed professionally.
If this is the appetizer, what’s to come for these lovebirds?
A lot more backstory. And they’re still holding secrets from each other, so now that they’re this much more comfortable, it’ll be fascinating for them to actually reveal their cards and evolve as characters together. And maybe some other characters coming back and complicating things.
It’s still early, but what’s been the experience so far stepping into this universe and its insanely passionate fan base?
I don’t think I’ve ever seen somebody do a drag show based off of the IP that I was a part of. There’s a whole drag community for The Last of Us; it’s got a large gay fan base. And everybody just wants me to get them a “hi” from Pedro. “Oh, Pedro, he is so hot. Have him say ‘hi’ to me.” And I’m like, “Dude, that’s my coworker, but okay.”
You’re on a really nice run here, between last summer’s Alien: Romulus, The Last of Us, and your upcoming debut as Hawkgirl in Superman. Have you been able to enjoy it, or are you too busy to do that?
It feels like I’m on a train, and with each project, the train’s going faster. So when the train’s going kind of leisurely, it’s easier to jump off, but when it goes really quick, you’d probably jump off and die. That was kind of dramatic. But honestly, that’s kind of the way I’m looking at it.
You just don’t want the train to ever stop.
If it fully stops, that’s really bad whiplash.
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