Ellie and Dina’s acoustic “Take on Me” scene in The Last of Us had fans pretty divided—some called it a sweet sapphic win, others missed the game’s sharper banter and bite, especially about Dina’s pregnancy. For some, the Pride flag in the background sparked a whole new debate on post-apocalypse representation—queer visibility, historical memory, all that fun stuff. Did the TV show soften too much, or just evolve? Stick around, because there’s a lot more behind that gentle strumming.
This quiet scene, sandwiched between nerve-wracking missions, stands out for its intimacy. Ellie’s gentle strumming, a callback to Joel’s musical legacy from Season 1, creates a rare oasis of calm. The scene drew immediate attention from fans, who had long anticipated a romantic development between Ellie and Dina since season 1.
Yet, in true fandom fashion, calm isn’t on the menu. Viewers instantly split: some praised the moment as a “sapphic milestone,” celebrating honest LGBTQ+ representation that’s invigoratingly unexotic. Others—especially longtime gamers—critiqued the softened tone, noting Ellie’s TV counterpart skips the game’s more biting dialogue, especially around Dina’s pregnancy. Less “burden,” more “supportive partner.” Is that emotional growth or just good TV manners?
The scene’s symbolism set off its own debate spiral. The “Take on Me” cover isn’t just a nod to ‘80s nostalgia—it’s a metaphorical lifeline, echoing Ellie’s fragile hope and her struggle to connect in a world that’s lost its cultural memory. Music plays a crucial role in The Last of Us narrative, serving as both an emotional bridge and a reminder of the characters’ connections.
Even the lighting—warm and inviting in the music store versus the later gloom of a theater—gets dissected for hidden meaning.
Meanwhile, arguments rage over adaptation choices. Purists question the need for exact scene replication, while newcomers appreciate pacing changes and toned-down violence. The altered flashback structure means some emotional payoffs hit differently—or not at all.
And let’s not forget the Pride flag confusion in the background, which, instead of being a simple nod, ignites discussions on historical amnesia and the role of queer spaces in post-apocalyptic fiction.
In the end, whether you love or hate the changes, Ellie and Dina’s music store duet proves one thing: sometimes, the quietest moments make the loudest noise.