Craig Mazin

So Don McCauley and our art department did make everything else in the theater. So the rooftop that they run onto, the lobby that they walk into, the balcony that they sit on where Dina's explaining how triangulation works.

So Don McCauley and our art department did make everything else in the theater. So the rooftop that they run onto, the lobby that they walk into, the balcony that they sit on where Dina's explaining how triangulation works.

Oh yeah, no, we don't screw around. Like that's one area where for me, my feeling is if we're going to make a set and we're going to put carpet in here, then we're putting the carpet in from the game. Like, why wouldn't we? That doesn't make any sense. There's no reason to fix the carpet. It's perfect. And that's what I want because I'm a fan. It matters.

Oh yeah, no, we don't screw around. Like that's one area where for me, my feeling is if we're going to make a set and we're going to put carpet in here, then we're putting the carpet in from the game. Like, why wouldn't we? That doesn't make any sense. There's no reason to fix the carpet. It's perfect. And that's what I want because I'm a fan. It matters.

You know, if you play the game, there's a certain sense memory. And if you haven't, well, now you have the experience that we all had.

You know, if you play the game, there's a certain sense memory. And if you haven't, well, now you have the experience that we all had.

This tableau is inspired by a movie that I have gone back to over and over and over again. It was something that I studied lengthily with Johan Reink when we made Chernobyl. It is Come and See, which is a Russian war film. Oh, I can see from your face you have not seen it, Troy. Never seen it. It is the greatest war movie that has ever been made.

This tableau is inspired by a movie that I have gone back to over and over and over again. It was something that I studied lengthily with Johan Reink when we made Chernobyl. It is Come and See, which is a Russian war film. Oh, I can see from your face you have not seen it, Troy. Never seen it. It is the greatest war movie that has ever been made.

It's an incredible piece of work and... There is a moment that this is very forwardly quoting from the way that these bodies are arranged against that wall. But one thing that I thought was important was to show that response that this is like, great, you want to tag the wall? We'll tag the wall. We'll tag the wall with your bodies and then we'll write this. They're leaving each other messages.

It's an incredible piece of work and... There is a moment that this is very forwardly quoting from the way that these bodies are arranged against that wall. But one thing that I thought was important was to show that response that this is like, great, you want to tag the wall? We'll tag the wall. We'll tag the wall with your bodies and then we'll write this. They're leaving each other messages.

The Seraphites come to the TV station, hang and disembowel wolves and leave a message on the wall. And then the wolves come here, execute a bunch of these people, leave their bodies, leave a message on the wall. This is the worst kind of communication possible.

The Seraphites come to the TV station, hang and disembowel wolves and leave a message on the wall. And then the wolves come here, execute a bunch of these people, leave their bodies, leave a message on the wall. This is the worst kind of communication possible.

And in that moment, I think Ellie understands she is taking Dina into a place that is so horrible, so ruthless and violent and dehumanizing that she's putting Dina and what she now thinks of as their baby At risk. And she doesn't say, let's go home. She says, I'll take you home. Like, we'll go back. I'll take you home. Then I'll return and handle this myself.

And in that moment, I think Ellie understands she is taking Dina into a place that is so horrible, so ruthless and violent and dehumanizing that she's putting Dina and what she now thinks of as their baby At risk. And she doesn't say, let's go home. She says, I'll take you home. Like, we'll go back. I'll take you home. Then I'll return and handle this myself.

But you shouldn't be here in your condition, essentially, is what she's implying.

But you shouldn't be here in your condition, essentially, is what she's implying.

And in the game, when you travel with Dina, you do get some of the story about her life and her background. And we did hint at it a little bit back in the third episode when Ellie and Dina are on horse and Dina asks who was the first person you killed. But as Dina points out, Ellie never asked who the first person was that Dina killed. And here this story comes out.

And in the game, when you travel with Dina, you do get some of the story about her life and her background. And we did hint at it a little bit back in the third episode when Ellie and Dina are on horse and Dina asks who was the first person you killed. But as Dina points out, Ellie never asked who the first person was that Dina killed. And here this story comes out.

It's a little different than the story in the game, but it is a very moving performance from Isabella Merced. And as it turns out, when she said to me later that she had been practicing and rehearsing and memorizing that speech for like two months.

It's a little different than the story in the game, but it is a very moving performance from Isabella Merced. And as it turns out, when she said to me later that she had been practicing and rehearsing and memorizing that speech for like two months.