Review: The Gay Episode of ‘The Last of Us’
Fruits for Fruits
Hi, Gay! Read on after this review for our Drag Race segment, ‘The Elephant in the Werkroom’. ♥
The Yearning Rating: ✰✰✰✰
Romance ✰✰✰✰½
Sex ✰✰½
Storytelling ✰✰✰
Performance ✰✰✰✰
Yearning ✰✰✰✰✰
Some spoilers ahead for Episode 3 of The Last of Us.
Written by Meg Heim
Frank, Frank…Bill’s Kingdom for a Frank. We’re talking about the gay episode of The Last of Us. I’ve heard all the critiques by the diehard fans of the original game, and to that I say…you’re watching an adaptation. If you want the exact same story from the game…go play the game. Relax and give gay joy1 five minutes onscreen. It’s not a filler episode if it's filling out the world of the show…which is adapted from the game. Just relax!2
‘Long, Long Time’ is the third episode in the season, and in one of the very on-the-nose ways, it’s fitting—the time that Frank and Bill have together in this post-Infection world is much longer than we see many others have. And some of that can definitely be attributed to Bill’s (Nick Offerman) doomsday prepper lifestyle pre: cordyceps. I can appreciate the humor in this being his saving grace; only in a world where mushrooms adapt to zombify humans and take over the planet via a devastating pandemic will saving all those cans of black beans and Italian Wedding Soup have been worth it.
One of my favorite parts of this episode—that added some much needed comedic relief—was Bill reaping the rewards of hiding out in his long-abandoned town. After all the evacuation shuttles in his area have departed, Bill emerges from his underground bunker to find he is completely alone. In a charming and funny sequence reminiscent of the nerdy girl’s pre-dance makeover, Bill systematically raids every viable resource in the area. (I felt a little thrill as I watched him pump gallon after gallon of free gas into barrels waiting in the back of his pickup.) He’s able to construct a very effective security system, with trip wires that shoot wandering Infected before they come within striking distance of his protective barriers. The crane shot pulls back wide to reveal that Bill has actually fenced in the entire town and all its resources, thereby creating a little Infected-free ecosystem for just him. But when one of his booby traps ensnares the future love of his life, Frank (Murray Bartlett) he’s forced to consider opening up his home, solitary existence, and heart.
As Frank and Bill get to know each other over their first lunch, there is a palpable and sweet nervousness between them. There are long moments of awkward silence, but with no pretense. This felt like a notable departure to me; so often two men on screen with a romantic arc have to work up to that kind of gentleness with each other, and the initial connection is forged with something rough, distant or even violent. (There is such a clear visual in my head of two men wrestling and roughhousing—oh yes, Brokeback Mountain). I really valued that showrunners and creators Craig Maizin and Neil Druckmann chose to build sexual and romantic tension in a different way here, even with a character portrayal as gruff as Offerman’s Bill, because it shows us that it can work.
Frank is warm and direct; you get the distinct impression that he’s the kind of guy who’d make you feel comfortable at a party full of strangers. It follows that he helps himself to Bill’s antique piano in the living room and alights on a book of Linda Rondstadt sheet music. He cracks it open to “Long Long Time”, a track I can only describe as full of yearning:
Cause I've done everything I know to try and make you mine
And I think I'm gonna love you for a long long time
I have to be a little stick-in-the-mud and say the moment after this was…stilted. Bill cuts Frank off, and it seems like he’s pained just hearing it, until he begins to play it himself on the piano. (Turns out he just thought Frank was a really bad singer.) Frank, in a coy, prying way asks: “So…who’s the girl? The girl you’re singing about?” But they both know there’s no girl. And the stiltedness dissipates as Frank returns to gently guiding Bill through his first queer experience.
There could have been a little more nuance to Bill taking this leap, but what's important is that they chose each other. The real beauty of this episode is them finding each other, amidst all of the horrors of a world overrun by mind-controlling fungus. There is a beautiful tenderness to their sex scene; I keep returning to how happy I am that the thread of gentleness is being carried through here. Bears in love can be subtle! I fell even more in love with Frank’s easy confidence and charm as he explains that he is not a slut and does not exchange sex for lunch and thus will be staying for a few more days, at least. The two share a lovely moment where they discuss their sexual experience (or lack thereof, in Bill’s case) and the writing here underlines that all sex is valid, just different, and there should be no shame attached to different kinds of experience. They meet each other on a completely level playing field and as a viewer you get a sense of the tangible gravity between them.
The episode then jumps forward three years to show that Bill and Frank are still together and still learning how best to love and care for each other while staying safe and extremely isolated. This dynamic feels almost predictably recognizable—one partner is easygoing, personable and bighearted while the other is surly and more reserved—but the performances are so outstanding that the stereotype doesn’t feel too bothersome. ‘Long, Long Time’ also cuts back and forth to our main characters, Joel and Ellie, as they journey towards the heavily guarded homestead for rest and to restock on supplies. The way we learn of Bill and Frank’s initial contact with Joel and Tess—Joel’s partner in love and smuggling—is through an argument the two have in the street outside their home. Nick Offerman’s inherent sense of comedic timing is so perfect here. Frank, determined to beautify their home in advance of future guests, is countered by Bill’s flat, frustrated reality check: “We don’t have friends. We will never have friends, Frank. Because there are no friends to be had.” Frank in turn reveals that he has been talking to a very nice woman named Tess on the radio.
There’s often buzz when a comedic actor takes a non-comedic role; people ooh and ahh about it being a departure from their usual repertoire and so a close eye should be kept on it. I feel like the general consensus is often, will they pull it off? But Maizin’s perspective on this is so crystal clear. In HBO’s ‘After the Episode’ segment, he explains that he feels like comic actors have an ever-present humanity, working hand in hand with the drama; and that they “understand the absurdity of the world, because that is the bedrock of comedy”.
I also have to talk about the strawberry scene. The sexualization of gay men eating fruit…it's pervasive! I can’t say I mind—I’m a CMBYN apologist. Frank has a surprise for Bill—he’s been growing strawberries. He traded a gun—just a little one!—with Joel and Tess in exchange for seeds. This scene is gorgeous because it tells us so many things—most importantly, that Frank and Bill have literally grown together. They haven’t let an unimaginable amount of isolation or a war-torn world breed bitterness or resentment, at least towards each other. They still surprise each other, and their love has built a little oasis where they have found some happiness. Offerman’s high-pitched, uninhibited giggle post strawberry bite in this scene just sends me. Frank even relishes in Bill’s admission that he’s getting older. “I like you older. Older means we’re still here.” A little trite, but, hey—infectious mushrooms rule the world here so I’m going to give them a pass.
If you’re unfamiliar with the source material for The Last of Us, the bestselling open-world video game of the same name features Bill and Frank briefly, but with a much darker ending. The player learns that Frank killed himself after becoming infected. A nearby suicide note reveals that Frank was furious with Bill at the time of his death, and the two had clearly not reconciled from their falling out. The player has an in-game choice to share the note with Bill or not.
I don’t feel quite done shutting down all the grumpy people who thought ‘Long Long Time’ was a pointless contribution to The Last of Us. Building out this world allows for the show to be elevated past post-apocalyptic world premise and properly sets the stage for The Last of Us as a drama. And that’s why we’re all so drawn to it; these performances are incredible. Not only expanding the world of Bill and Frank (i.e. the so-called “filler”) but changing it is critical. There’s relevance to embedding narratives of hope within the story even if they don’t move the central plot forward. Hope is a critical ingredient. Ellie is our hope. She’s the world’s hope for the vaccine, the cure, the end to this pandemic. If everything is just desolation, destruction, and fractured love between people for nine episodes, does that stay interesting to watch? Maybe for some, but I think an audience who is so tired of keeping up ‘the good fight’ and rooting for characters who only experience hardship can get exhausted.
In my eyes, The Last of Us speaks so much to its (currently massive) fanbase because of the character’s resilience and humanity. And ‘Long, Long Time’ is an incredible 80-minutes of television. At best, those in opposition to this episode are whiners about the departure from the original source material, but more likely they’re just plain old homophobic.
I feel encouraged by the queerness already present (and the queerness foretold) that The Last of Us isn’t just placating the gays with one brief and sad foray. Even though this episode’s ending was teary, there’s so much to look forward to. First, we have Ellie—played by gender fluid actor Bella Ramsey, who is absolutely dazzling me with their unreal amounts of star quality and acting chops. Ellie has such a viciousness and voracity, and at such a young age; she’s a complete badass. But her ability to flit so quickly from teenage asshole to vulnerable kid is astonishing. While we have no outright admission of Ellie’s queerness yet, her scoffed response to the question, “Do you have a boyfriend?” in Episode 1 didn’t escape me. Ramsey has also expressed their excitement for the likely lesbian plot line to unfold in Season 2—providing The Last of Us continues to honor its faithfulness to the show’s source material. My sources tell me that Ellie and her companion, Dina3, have a romantic arc in the game’s sequel, The Last of Us: Part Two.
The Last of Us has already been renewed for a Season 2. You can watch the first four episodes on HBO Max.
Vehemently disagree with my take? I’d love to hear yours—you can reply directly to this email to chat or leave a comment below.
The Elephant in the Werkroom
Episode 6:
Granny-ifying the girl group challenge was fun and classic RPDR fare that made me wonder if MTV was beginning to hit its stride in pacing these now-abbreviated episodes; but the back half of the episode still felt rushed and muddied with one second Runways, zero deliberations, and extremely abrupt critiques.
In a season that is fighting tooth and nail for the precious minutes needed to just show these girls on the runway, we spent a painful amount of time watching Malaysia’s and Mistress’ girl groups argue over the heavy metal song. Speed it up!!
I am getting tired of RuPaul ceaselessly nagging Marcia about her makeup. It’s repetitive and just has a weird vibe about it…I’d rather the time be spent actually getting to know these queens?
“Golden Girlfriends” aka the country grandma girl group were the obvious stars of the episode.
I simply cannot abide by Aura, somebody I have repeatedly placed in my “to be eliminated” category on the RPDR S15 Fantasy League on Bracketology being the challenge winner. She is just *too* forgettable. I don’t feel like the edit supported this win; she struggled far too much recording her verse and did not particularly shine as a performer. I loved her runway look, but it was one of the few that I did not find abhorrent…
Robin’s elimination felt somewhat inevitable. However, she did kill me with her line, “I’m so happy to be on a team with hip-hop icon: Loosey LaDuca.”
“You have drag delusion” — Mistress Isabelle Brooks
But…she’s a writer! Next week on The Yearning, Ali will review the winner of our sapphic rom com ‘From the Archives’ poll, But I’m a Cheerleader.
Don’t worry, it will eventually turn into gay grief!
I know that y’all are not the ones who need help relaxing. But if you can let them know that would be great<3
Dana? Sorry. Dana? Sorry.