I agree. This episode was just average compared to the rest.
I disagree. The narrative "structure" of this show is very good. Craig Mazin knows what he's doing in terms of fundamental storytelling.
The two major problems are A) the actors and B) the short season
Pascal and Ramsey are actually pretty mediocre as actors. They are great in some very specific kind of roles, but TLOU is entirely reliant on the chemistry/conflict with Joel and Ellie. They just can't seem to pull it off. Hugh Jackman was approached first for the role, and he turned it down. Which was too bad, because he would have been the best overall choice. ( I didn't particularly think Real Steel was great, but it was a solid family movie and Jackman naturally can chew up any role regarding the "Wannabe Han Solo, Rogue With A Heart Of Gold" theme)
Also it's very likely HBO did not want to commit to a longer season, because this show could have easily been a major flop. Instead it's a huge hit and HBO HQ is probably kicking themselves for not having a much longer season made. ( 9 episodes were ordered, but this could easily been stretched to 13 without padding the narrative)
Joel and Ellie now have a context towards a future and what's at stake. It's not just about the two of them, it's also about the safety and future of Joel's brother's future child. Also all the other children at that settlement. Both Joel and his brother know that the illusion of "safety" at that settlement won't last. Not without a real cure.
Ellie transitions from a "package" or "cargo" into something else. This is why Joel infantilizes her so often. He treats her as helpless and incapable. But she's shown as somewhat resourceful, willing and desires to learn how to survive. He humanizes her in a way the leader of the Fireflies could not. And that's why he was chosen in the first place, that he would reliably take Ellie to the destination and not "feel" about what is likely to happen to her in the end. He keeps telling her to shut up, stay up, hide and not get in the way. But a lot of that is fallout from never having to let go of his daughter. She died before she could come of age and leave the nest. In his mind, warped and broken, that transition is how children die under his ward.
You need something to live for, you need something to look forward to in life, you can't mentally hold on if you are constantly in a loop with no end in sight.
Joel doesn't want Ellie to be taught the skills to survive the world without him, because he doesn't actually want to let her go. He knows deep down what happens if he delivers her, the foreboding and dread on that issue isn't made a huge secret by Mazin. But he relents, thus the scene where he shows her how to use the rifle. He's caught in a conflict where he's responsible for protecting her, but to continue the mission is actually not protecting her overall.
The Henry / Sam arc exists to show the total cost to not protecting Ellie. What it means if Joel fails.
The Bill / Frank arc is to show the difference between survival and living. Bill understands how to survive, but Frank wanted to actually live. You need both to make it. What would have happened to Bill without Frank in his life? It asks the hard question on what will happen to Joel without anyone in his life ( Tess is dead, Tommy has a new life, Ellie could be gone soon)
It's interesting that this forum is full of supposed "music junkies" and yet no one seemed to notice the song during the end credits.
"I'm taking a ride with my best friend
I hope he never lets me down again
He knows where he's taking me
Taking me where I want to be
I'm taking a ride with my best friend
We're flying high
We're watching the world pass us by
Never want to come down
Never want to put my feet back down on the ground
We're flying high
We're watching the world pass us by
Never want to come down
Never want to put my feet back down on the ground
Never let me down
Never let me down
Never let me down
Never let me down"
I don't think most people are going to really pay attention to the ending with the lab monkeys running around loose. Joel sees it and understands he has to move forward. Not to deliver Ellie, but to actually deliver her from the Fireflies. It's just Pascal is too limited an actor to properly convey that. They aren't going to see or treat Ellie as anything more than a lab animal. You can see the tonal shift when Ellie talks to Joel about using the blood on Sam's wound and it's not enough. Add in Depeche Mode and the foreshadowing is pretty clear in this regard.
Joel is a killer. It's the one thing he's good at, not "contracting" Before he was wounded, the intent was clear. He was going to go kill every last Firefly who knows about Ellie.