--- title: "The Last of Us" year: 2023 kind: "series" canonical: "https://film.one/tv/the-last-of-us" fi1m_id: "the-last-of-us" imdb_id: "tt3581920" tmdb_id: 100088 wikidata_id: "Q87131973" fi1m_score: 85 critics_score: 87 critics_reviews: 13 published: "2026-09-12" updated: "2026-09-17T21:14:44.971038+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Last of Us (2023) Created by Neil Druckmann, Craig Mazin · MPA TV-MA · Drama ## Identity The Last of Us - **Canonical:** https://film.one/tv/the-last-of-us - **Type:** Series - **Fi1m ID:** the-last-of-us - **IMDb ID:** tt3581920 - **TMDB ID:** 100088 - **Wikidata ID:** Q87131973 - **Same entity:** https://www.imdb.com/title/tt3581920/, https://www.themoviedb.org/tv/100088, https://www.wikidata.org/wiki/Q87131973 **Fi1m score: 85** · Critics 87 from 13 reviews *In a sentence:* All those zombies, and the real inconvenience is starting to care about someone > Pedro Pascal and Bella Ramsey make this ruined America worth spending time in. The first series is moving, patient horror-drama, even when its supporting characters deserve more space than the scripts allow. ## Synopsis Set in a US ravaged by a zombie apocalypse, *The Last of Us* follows Joel Miller (Pedro Pascal) and Ellie Williams (Bella Ramsey). Their growing attachment takes on the shape of a father-and-daughter relationship as the series considers what survival means when it involves caring for somebody else. Horror surrounds them, but the story makes space for other survivors and their relationships, widening its attention beyond its central pair. Adapted from a video game, the first series runs for nine episodes, with writing credits including Craig Mazin and Neil Druckmann. ## Review The first series of *The Last of Us* is good enough to recommend to people who think they have finished with zombie stories. Across nine episodes, writers Craig Mazin and Neil Druckmann give Joel and Ellie a relationship worth following even when the threats become familiar. There is no shortage of human suffering here, and some of it is predictable. What keeps the series from becoming a dutiful procession of horrors is the time it gives people to care about each other. Pedro Pascal and Bella Ramsey do most of that work. Their Joel and Ellie develop a father-and-daughter closeness without making the relationship feel settled or easy. Pascal gives the protectiveness an uncomfortable weight, while Ramsey makes Ellie matter as a person with demands of her own, not simply someone for him to protect. We believe in their attachment before we begin worrying about what it might demand of them, and that is why the danger works. Peter Hoar’s third episode shows how much the programme gains when it gives another relationship sustained attention. Its expansion of Bill and Frank’s story moved us more than we expected. Their life together is allowed to matter in its own right, with enough time for affection to become something we believe in. The episode also makes a useful case for adapting a game into television. There is value in stopping to look at people the central story might hurry past. Production designer John Paino makes the ruined surroundings convincing enough to suggest places where people might still try to live. Cinematographers Ksenia Sereda and Eben Bolter help keep attention on the actors amid the devastation. The scale of the setting registers, but it rarely distracts from the person in front of us. That is useful work in a genre where a ruined building can easily become something to admire while waiting for an attack. Editors Timothy A. Good and Emily Mendez help make the patience work, allowing relationships to carry stretches that could otherwise feel like delays between attacks. Gustavo Santaolalla and David Fleming’s music supports that emphasis on feeling without making the performances seem secondary. The series is strongest when it trusts this slower pace. Against the usual demands of survival horror, spending time with people can feel almost indulgent, but those stretches are the reason we would return. The limitation is that the same generosity does not reach everyone. Some supporting characters are asked to make an impression before the writing has given them enough room, and the central pair can leave the rest looking underdeveloped. Mazin and Druckmann occasionally ask for an emotional response that a supporting character has not been given time to earn. Familiar apocalypse situations also remain familiar, however seriously they are staged, and the series does not reinvent every encounter. Give it time between the frightening passages. The quieter stretches deserve attention, particularly when Pascal and Ramsey are working out how close these two people can bear to be. It is not the choice for an evening of uninterrupted action. *Fi1m score 85, published 12 September 2026.* ## What the critics say The reviews are consistently positive, with praise centred on Pedro Pascal and Bella Ramsey’s performances and the growing bond between Joel and Ellie. Most critics find that the series works as a drama beyond its video game origins, giving its characters enough attention to make the horror matter. Its balance of fear and tenderness draws repeated approval, while the third episode attracts particular praise for expanding the source material into an intimate story of love and loss. The differences are chiefly in enthusiasm, with reservations scattered rather than forming a shared objection. Vulture acknowledges familiar post-apocalyptic elements but values the patient attention to relationships. NME finds some supporting characters underused, despite praising the central pairing. The Independent offers more restrained approval, admiring the acting and production design while questioning the series’ moral consistency. The consensus favours its human encounters over any claim to novelty in zombie storytelling. ## Straight answers **Is The Last of Us worth watching?** *The Last of Us* is worth watching for anyone who wants a zombie story that spends more time on people than on attacks, and we scored it 85. Pedro Pascal and Bella Ramsey make Joel and Ellie's growing closeness the reason to keep going, though some supporting characters are asked to move us before the writing has given them room. It is not the choice for uninterrupted action. **How long is The Last of Us, and what is it rated?** *The Last of Us* is rated TV-MA by the MPA in the US. It is a drama series. **Where can I watch The Last of Us in the US?** *The Last of Us* is streaming on HBO Max, The Roku Channel, Hulu and Amazon Prime Video in the US, and it is also available to buy from Amazon Prime Video and Apple TV. Availability is checked daily; the links above go straight to each service. **How violent or frightening is The Last of Us, and is it suitable for children?** *The Last of Us* carries a UK 15 certificate and a US TV-MA rating, so it is not for children. There is no shortage of human suffering, the horror is staged seriously, and the frightening passages are broken up by long, quiet stretches rather than softened. Older teenagers used to survival horror should manage; the squeamish should expect real dread. **How does The Last of Us compare to Children of Men?** *The Last of Us* and [*Children of Men*](https://film.one/film/children-of-men) both follow a frightened adult learning to care again as a society comes apart, but they do it in opposite proportions. Cuarón's film has the more convincing world and the more frightening set pieces, while its people are thinner than their surroundings. The series gives its central pair far more room, and that is where it wins; the film is the tighter, more sustained piece of craft. **What should I watch after The Last of Us?** After *The Last of Us*, try [*Children of Men*](https://film.one/film/children-of-men) (2006, Fi1m 85): A frightened adult learns to care again amid a society coming apart. Then [*Station Eleven*](https://film.one/tv/station-eleven) (2021, Fi1m 84): Another collapsed civilisation, with more room for memory, performance and human connection; and [*Train to Busan*](https://film.one/film/train-to-busan) (2016, Fi1m 84): Family obligations keep the zombie panic personal, even as the action accelerates. ### Reviews we read (14) - **Radio Times** (5/5): The critic calls it a fantastic drama in its own right that surpasses expectations for a video game adaptation. They single out the perfect casting and chemistry of Pedro Pascal and Bella Ramsey as Joel and Ellie for praise. [Read](https://www.radiotimes.com/tv/sci-fi/the-last-of-us-tv-show-review/) - **The Guardian** (90/100, inferred): This desperately moving drama set in a zombie-ravaged US is a phenomenal blend of horror and heart, with a cast that could not be more perfect. It manages to find humanity in the ruins through its balance of horror and heart, with standout performances from Pedro Pascal and especially Bella Ramsey. [Read](https://www.theguardian.com/tv-and-radio/2023/jan/16/the-last-of-us-review-one-of-the-finest-tv-shows-you-will-see-this-year) - **The Hollywood Reporter**, Daniel Fienberg (90/100, inferred): The critic declares it by far the best video game adaptation ever made and very good simply as TV. They single out the central relationship and the standout third episode (directed by Peter Hoar) as what elevates the series toward something truly special. [Read](https://www.hollywoodreporter.com/tv/tv-reviews/the-last-of-us-hbo-1235292687/) - **The i Paper**, Emily Baker (85/100, inferred): The critic calls the series an exhilarating reinvention of the zombie apocalypse genre that succeeds due to its heart and story. They single out the intimate and profound father-daughter relationship between Joel and Ellie, brought to life by stellar performances from Pedro Pascal and Bella Ramsey. [Read](https://inews.co.uk/culture/television/the-last-of-us-hbo-sky-atlantic-uk-review-exhilarating-reinvention-zombie-apocalypse-genre-2073089) - **The Times** (85/100, inferred): The series is top-tier television and the best game-to-screen adaptation yet, staying true to its source while broadening the narrative into thoughtful, high-class drama that is at times horrifying. [Read](https://www.thetimes.com/culture/tv-radio/article/the-last-of-us-review-tv-series-episode-adaptation-playstation-sky-hbo-2zqpzbnbh) - **Variety** (85/100, inferred): The critic finds it a promising and moving zombie saga with strong central performances. They single out the dynamic between Ellie and Joel, along with the show's ability to make viewers care about its characters, for praise. [Read](https://variety.com/2023/tv/reviews/the-last-of-us-hbo-review-1235480139/) - **The Telegraph** (80/100, inferred): The finale delivers a stunning, morally ambivalent ending that echoes the game, pulling viewers in two directions about Joel's choices. It sets up a darker second series while highlighting the extraordinary performances, particularly Bella Ramsey's. [Read](https://www.telegraph.co.uk/tv/2023/03/13/last-us-finale-review-stunning-ending-sets-brutal-second-series/) - **The Independent** (70/100, inferred): The finale features moments of beauty descending into a whole lot of bloodshed in a brutal showdown, with the acting excellent and production design extraordinary. It remains morally capricious and leaves the series poised for more. [Read](https://www.independent.co.uk/arts-entertainment/tv/reviews/the-last-of-us-finale-review-b2298181.html) - **Vulture**, TV and film writer: The series is a gripping, ambitious, and well-made adaptation that succeeds in translating the game to television despite familiar post-apocalyptic tropes. It stands out most for its patient study of relationships, especially Joel and Ellie’s evolving dynamic, and for thoughtful detours like the Bill and Frank episode. [Read](https://www.vulture.com/article/the-last-of-us-hbo-review.html) - **Collider**, Ross Bonaime (A+): The critic calls the series one of the best video game adaptations ever made and one of the best shows of 2023, praising how it retains the game's emotional power while deepening characters and relationships through strong performances by Pascal and Ramsey and thoughtful expansions. It demonstrates how adaptations should be handled with care and creativity. [Read](https://collider.com/the-last-of-us-hbo-review/) - **Den of Geek**, Bernard Boo (5/5): The episode is one of the best hours of television in recent memory and proof that the series is the best video game adaptation ever made. It builds on the game by expanding Bill and Frank's relationship into a moving, intimate story of love and loss that feels natural and dignified. [Read](https://www.denofgeek.com/tv/the-last-of-us-episode-3-review/) - **/Film**, Valerie Ettenhofer (90/100, inferred): The review calls the series a compelling and fantastically acted adaptation that rises to the challenge of its source material. It highlights the standout third episode directed by Peter Hoar as an emotionally intimate high point that unites fans and newcomers. [Read](https://www.slashfilm.com/1160701/the-last-of-us-review-a-thrilling-character-driven-achievement-for-game-fans-and-newcomers-alike/) - **NME**, Alex Flood (85/100, inferred): The critic praises the ultra-faithful HBO adaptation of the video game as fresh and emotionally powerful despite familiar elements, highlighting the strong chemistry between Pedro Pascal and Bella Ramsey and the moving central relationship. Some supporting characters feel underused, but overall it succeeds as compelling television. [Read](https://www.nme.com/reviews/tv-reviews/the-last-of-us-review-pedro-pascal-bella-ramsey-3376317) - **The Ringer**, Alison Herman (80/100, inferred): The HBO adaptation elevates its video game source material through strong performances and a focus on human survival rather than mere zombie horror. Pedro Pascal and Bella Ramsey are singled out for breathing new life into the central characters. [Read](https://www.theringer.com/2023/01/16/the-last-of-us/the-last-us-us-review-hbo-pedro-pascal-bella-ramsey) ## Details - **Created by:** Neil Druckmann, Craig Mazin - **Creator:** Neil Druckmann, Craig Mazin - **Director:** Peter Hoar, Craig Mazin, Neil Druckmann, Jeremy Webb, Ali Abbasi, Kate Herron, Stephen Williams, Nina Lopez-Corrado, Mark Mylod, Liza Johnson, Jasmila Žbanić - **Writer:** Craig Mazin, Neil Druckmann, Halley Gross - **Cinematography:** Kseniya Sereda, Eben Bolter, Catherine Goldschmidt, Nadim Carlsen, Christine A. Maier - **Editor:** Timothy A. Good, Emily Mendez, Simon Smith, Cindy Mollo, Mark Hartzell - **Music:** Gustavo Santaolalla, David Fleming - **Production design:** John Paino, Don MacAulay - **Costume design:** Cynthia Ann Summers, Ann Foley - **Producer:** Cecil O'Connor, Greg Spence, Allen Marshall Palmer - **Cast:** Bella Ramsey as Ellie Williams; Gabriel Luna as Tommy Miller; Isabela Merced as Dina; Young Mazino as Jesse; Pedro Pascal as Joel Miller (uncredited); John Hannah as Dr. Newman - Scientist #2; Josh Brener as Murray; Christopher Heyerdahl as Dr. Schoenheist - Scientist #1 - **Certificate (MPA):** TV-MA - **Release (the US):** 15 January 2023 - **Genres:** Drama - **Also in:** [Emmy Outstanding Drama Series winners](https://film.one/collections/emmy-drama.md) (Nominee, 2023) - **Trailer:** https://www.youtube.com/watch?v=uLtkt8BonwM ## Where to watch in the US - HBO Max: streaming, uhd - The Roku Channel: add-on, hd - Hulu: add-on, hd - Amazon Prime Video: add-on, uhd - Amazon Prime Video: buy, hd - Apple TV: buy, hd *Checked 2026-09-12.* Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, HK, HR, HU, ID, IE, IL, IN, IS, IT, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, US. Add `?region=XX` to this URL for another country. ## Awards - Golden Joystick Awards − Best Game Adaptation 2025: Golden Joystick Awards − Best Game Adaptation (nominated) - Hugo Awards 2024: Best Dramatic Presentation, Short Form (won) - Primetime Emmy Awards 2023: Outstanding Main Title Design (won) - The Game Awards − Best Adaptation 2023: The Game Awards − Best Adaptation (won) ## If you liked this - *Children of Men* (2006), Fi1m 85: A frightened adult learns to care again amid a society coming apart. — [Fi1m page](https://film.one/film/children-of-men.md) - *Station Eleven* (2021), Fi1m 84: Another collapsed civilisation, with more room for memory, performance and human connection. — [Fi1m page](https://film.one/tv/station-eleven.md) - *Train to Busan* (2016), Fi1m 84: Family obligations keep the zombie panic personal, even as the action accelerates. — [Fi1m page](https://film.one/film/train-to-busan.md) - *Leave No Trace* (2018), Fi1m 88: A parent and child negotiate dependence, tenderness and the limits of protection. — [Fi1m page](https://film.one/film/leave-no-trace.md) - *The Night of the Hunter* (1955), Fi1m 91: Children face adult violence in a landscape photographed with beauty and dread. — [Fi1m page](https://film.one/film/the-night-of-the-hunter.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/tv/the-last-of-us