“Ah! The newbies! Tommy said his brother was in town! What’s the name?”
Joel’s mouth turned into half a smirk at the elation in the voice of the man welcoming them to the Tipsy Bison. “Joel.” He said, motioning his hand that was not occupied with Ellie’s in her direction, “this is Ellie.”
“Joel and Ellie Miller. Nice to meet you folks!”
Ellie’s eyes grew wide. Ellie Miller.
Williams? Miller. Miller? Ellie Williams… Ellie Miller.
The voices of the conversing men were drowned out now, Ellie taken completely captive by her thoughts. Joel’s last name. My last name. Our last name. But… we’re not family. We can’t, can we? It’s his name, it’s not mine. I shouldn’t be called that. I shouldn’t be but I… want to be? Do I? Fuck, of course I do. Official shit? I’d get to be a Miller? Joel’s…
“-lie?”
She was back, her thoughts pushed somewhat back. “Hm?”
He faced her, her hand still in his. “Hey, you okay? You were out of it there for a minute,” he asked, voice unmistakably soft.
“Yup, perfect,” she said, trying to brush it off. It’s a name. Chill.
“Alright,” he said, not pushing it.
The chefs cooked up burgers for them that night and Joel nearly died and went to Heaven having a burger again. Ellie wasn’t as impressed, but seeing Joel eat with the biggest grin on his face and spew some pre-outbreak junk about how delicious a good homemade burger on the grill was made it worth it to her.
But even through dinner, the thoughts in Ellie’s head didn’t leave. They weren’t bad… just curious. Miller. Ellie Miller. It’s just a simple hope. It would never happen; stop making a big deal out of it.
Even after dinner and their walk home, Joel could feel a difference. Silent communication to feeling a difference in them through… the others scent? The way they walk? How their head hung? He couldn’t tell. But there was… something there that was different about her.
They both kicked off their shoes, Ellie moving to the couch immediately to plop into the weary leather.
He asked again. “You okay?”
“Yeah. Fine.”
He stood by the door, eyebrows raised and hands alarmingly close to sitting on his hips.
She sighed, throwing her head against the back of the couch. “Nothing bad, I swear. Just… some thoughts.”
“Baby, from what I’ve seen, majority of your thoughts are bad.”
“Wow, helpful,” she said, letting out an exasperated sigh. “But you’re right. But I swear, they’re not bad. Just dumb.”
Joel sat on the other end of the couch to face her. He didn’t speak, but he did want to hear from her. Poking and prodding about her dumb thoughts would shut her down. Her dumb thoughts would still overtake her in a number of ways and he wanted her to talk about them, no matter how dumb she said or thought they were.
He sat and waited patiently for her to start.
“What the guy said earlier at dinner.”
“What, specifically?”
She half groaned, annoyed with how such dumb thoughts were making her feel. “When we first got there. You introduced us and he said Joel and Ellie Miller…”
Joel turned his head to the side, a few lightbulbs going off.
“I just… didn’t know how to feel about it, I guess. But, it’s dumb. I’m sure sleeping on it will be fine.”
“Ellie,” he started, cautiously approaching the question, “what was your reaction to it? Did you hate it or was there…”
“Interest,” Ellie continued for him. “Interest, I think? I don’t know, it’s not like I go by Ellie Williams everywhere I go. But… Miller is your name. It’s Tommy’s, it’s Maria’s. It’s not… mine. But…” she trailed off slightly, pulling at her fingers as she glanced up at him. “I kept saying it as my last name in my head and it felt… good, almost. But I’m not a part of the family and using it as my last name seems really official and we’re not official and I’m not related to you guys so it feels wrong to want something when-“
“Hey,” he interrupted, grabbing her hand from across the couch. “My last name does not define whether you’re in the family or not, got it?”
Ellie sniffed and swallowed, forcing the lump in her throat down. “Still… it feels weird.”
“Tell you what,” he grabbed her hand with his other, holding it tight. “We try it on for size for a little while? If you want. There’s a lot of families we haven’t met. Plenty of kids your age, adults my age. They know I’m Tommy’s brother, so they’re going to assume you’re related, too. If you want, when introducing yourself, you can use Miller to see how it sounds.” He smiled at her. Ellie Miller. Fuck, he’d love it. “If you end up hatin’ it, you don’t have to use it. Okay?”
She nodded in agreement, “Okay.” She looked up at him again, noting those familiar creases at the corners of his eyes. “Do you… like how it sounds?”
His smile grew as he brought her enveloped hand up to his lips, adjusting his grip on her so he could kiss her knuckles briefly, the feel of his stubble causing her to reflexively flex her fingers at the feeling. “Course I do,” he said, grabbing hold of her hand again. “But I’m not gonna ask you to use it if you end up hating it.”
She smiled, nodding in understanding. She wouldn’t hate it. It’s his last name. If this is as official as they can get, she wants it.
They stayed on the couch, Ellie eventually changing positions to laying her head on his thigh as he told her Miller Family Stories, per her request. The majority of them were embarrassing stories of Tommy in his youth, stories Joel supposedly was made to swear would never leave the immediate family.
But Ellie was a part of the immediate family now, and she’s definitely going to use her newfound knowledge against her uncle.
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Ellie’s memory of the golfing scene and what it tells us about her.
🚨spoilers for tlou2🚨
I think Ellie’s flashback to Joel’s death is very telling of how she internalized the event and the meaning she applied to his death. It’s also a good demonstration of her relationship to autonomy. Let’s break down the elements that were inconsistent with the actual event:
The stairs/hallway are much longer than they were. This suggests a sense of helplessness, an inability to get there fast enough. Joel is constantly out of reach.
There is blood on the floor outside of the door. Not entirely certain on this one but my hunch is that she blames herself for not seeing more obvious signs of violence/not knowing something was wrong sooner.
The door is locked, another roadblock in her path to Joel. She can’t access him, she can’t help, he needs her and she isn’t there.
Most importantly. Joel yells “Ellie, help me” (which he didn’t in the actual scene, he just screams. He doesn’t say a word in the actual scene)
Ellie hearing Joel scream for her help, calling for her while being horribly beaten, and her being repeatedly impeded on her way to him suggests that what she took away from his death is that she wasn’t enough. They always helped each other, always had each others backs, always got up. Ellie views his death as a failure. She was too slow, too weak, not smart enough to save him. She failed him when he needed her most. She is absolutely helpless to save him, just like she was helpless to save Riley, Tess, Sam, and Jessie (and Marlene, and humanity, and and and-).
Once again, Ellie makes a decision (staying with Riley, going to the fireflies, staying with Joel, being the cure, trying to forgive Joel) and once again her autonomy and ability to find closure is ripped from her.
This is the inciting incident of tlou pt2, this is the moment where Ellie’s whole world shatters the same way Joel’s did at the start of pt1. Ellie enters into the same cycle (which I like to call the “Joel cycle” because… yeah.) that he did, and throughout pt2 she stays in the “20 years later” phase of the cycle. She is changed, she has lost her light, lost what she fought for. She lost her chance to genuinely forgive Joel and rebuild their relationship. She is stuck in a gruelling and violent world that she has no anchor in, at least not anymore. His death is so sudden and so incredibly violent that it practically gave her (and me as well, tbh) whiplash. She’s in a state of total shock.
On another devastating note, this is one of the three times in tlou that we see Ellie beg (that I remember). The first is begging Joel to get up at the university of Eastern Colorado, the second is begging him to get up and for Abby to stop, and the third is begging Abby to not kill Dina because she’s pregnant. (Two times she begs Joel to get up, one time he doesn’t. Two times she begs Abby to spare her family and one time she does. What a beautifully haunting contrast)
To wrap up, every person creates an internal narrative, a story of their life that is crafted from their context and lived experiences. The meaning we derive from those experiences doesn’t always reflect the truth, and that can sometimes bite us in the ass majorly when we experience a traumatic event. We tend to want to find someone or something to assign blame to, some reason or rationale to why it happened. We tell stories. We write them in our minds about ourselves and what happens to us and what that says about us.
But Ellie is wrong. Joel’s death happened in response to a conscious and willing choice he made. It is in no way her fault, and there was absolutely no way for her to know or to stop what was happening. I think Ellie knows that much on an intellectual level, It just doesn’t change how devastated she is over the whole event. It can’t change the fact that she FEELS as though this was all her fault, that Joel did what he did to save her, that she could have saved him. That she should have.
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Ok so this amazing video edit about the possible foreshadowing from s4 of Mike getting vecna’d in s5 got me thinking:
During the realization scene at the end of s4 episode 3, where Max and co realize Vecna is targeting her; there’s a brief flashback of her getting a random nosebleed in class (the clip is also in the video I linked, go watch if you haven’t yet and then come back to this post lol)
It’s in a classroom while a lesson is in progress, so there should probably be extras at the edge of the shot right?
Wrong. The camera focuses solely on Max and her nosebleed, she’s front and center, which makes sense… except wait, there’s one other person the camera briefly pans over to right before it cuts to a different scene-
-And would ya look at who it is:
Think about it: doesn’t it feel kind of out of place for a scene about Max having symptoms of vecna’s curse to randomly add Mike of all people sharing the center of the shot, and to take extra camera time to pan over to him deliberately turning around to notice Max?
Because the more *I* think about it, the more I realize that it has to mean something; they could’ve just as easily have had only Max and her nosebleed in the shot, and the flashback would’ve still accomplished the immediate point that was trying to be made, or they could’ve even just put some random extra off to the side of the shot turning to look over if they were just trying to emphasize Max’s off behavior, but instead they put Mike in the scene: another main character that seemingly has no direct connection to this whole Max situation. Not only that, but they took extra time panning the shot over to draw our attention to Mike looking over at Max!!
Why do that?? This is film, everything we see onscreen is deliberately set up exactly the way the producers want the audience to see it. They *chose* to put Mike in a Vecna related scene (and right in the center of it with Max! Who is literally getting vecna’d!!) that plot wise he had no relevance to. And especially with Stranger Things, if a clearly deliberate choice feels random or slightly out of place, it’s almost always because it’s being used to hint at or communicate something else going on beyond what a scene or a dialogue line appears to be at surface level.
Not to mention that Mike and Max are literally the same person in two different fonts 👀
So, in conclusion: Mike is fucked and he better start running bc all signs point to him being a target in season 5, and I’m honestly so excited bc we’ll FINALLY GET TO SEE INSIDE HIS BRAIN AND KNOW WHAT HE’S THINKING
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why don’t you like the second tlou game?
TLoU wasn't written with a sequel in mind and I will die on that hill. The story was meant to end exactly where the first game ends. If it ends there, it's a story about a girl who never had a parent and a man who slowly becomes her father, protecting her from everything, even the truth. People say Ellie's innocence dies with David, but I disagree- I think that Joel's final goal was to turn her back into a child, to shoulder all the responsibilities, and her "Okay" is her letting herself become a kid again, trusting his words of reassurance. She knows her dad is lying, but it's okay because it's not her problem anymore, she can just go and learn to live again while he is consumed by the truth. We don't know what their lives will look like from now on, but we hope it will be okay, because that's what the story is about - the hope that even after all the horrible things that can happen to you, you can still learn how to be okay again. It's a very ambiguous ending, while also being a very final dot at the end of a story, and that's super impressive to me!
But the sequel is like. No actually we DON'T like any kind of nuance or ambiguity, here's some CW-level writing about uhhhhhhh Ellie ending up completely alone and losing everything that ever made her happy. It is now a story about how Joel failed, how Ellie turned into a bitter, vengeful monster who chooses her own anger over her loved ones. It is like getting punched in the stomach for tens of hours, constantly forced to feel horrible about a story that used to be about hope. Maybe I would have enjoyed it if it wasn't about Ellie and Joel, since I do think there are some good beats, but as it stands I straight up can't even consider it canon. I'm not even mad at it, because it doesn't feel like it's a continuation of the same character arcs, themes or storylines.
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