#Wonder woman tv pilot pedro pascal series#

(Mandalorians aren’t much for grand displays of emotion, anyway.) As a result of the helmet-imposed limitations, Pascal mostly conveys his character’s affection for Baby Yoda through understated gestures, like giving him a little doohickey to play with. While his face is obscured by a helmet for much of the series, it’s clear as day that Pascal’s Din Djarin (better known as Mando) is quite taken by Grogu (better known as Baby Yoda) from the moment he comes across the little guy at the end of the pilot. In retrospect, Pascal’s performance in Prospect essentially served as a soft launch for his eventual role in The Mandalorian. Unlike the valuable resource responsible for senseless violence on the moon’s surface, Prospect is a hidden gem that’s worth seeking out. As far as The Last of Us parallels go, Ezra has a southern-like drawl that isn’t too removed from Joel’s, and by the end of the movie, the character’s relationship with Cee is genuinely touching. Prospect is largely indebted to old-school westerns-the lawless pursuit of these gems is akin to an interstellar gold rush-and Pascal’s character fits into the equation as the charming gunslinger archetype, albeit the kind that wields more empathy than he would ever care to admit. A tense shoot-out ensues, and the only ones left standing at the end of it are Ezra and Cee, who begrudgingly team up to get off the moon alive. Not long after landing, the duo encounter rival prospectors, including a rogue named Ezra (Pascal).

In the 2018 indie film Prospect, cash-strapped prospector Damon (Jay Duplass) and his daughter, Cee (a pre- Yellowjackets Sophie Thatcher), arrive on a hazardous alien moon that’s home to valuable gems.

#Wonder woman tv pilot pedro pascal series#

Even before The Mandalorian, which was the first live-action Star Wars series and has turned into the greatest success story of Disney’s nascent streaming service, Pascal starred in another sci-fi project that saw him reluctantly accept paternal-like responsibilities. If caring for a young charge appears to come naturally to Pascal, it’s because he’s had some practice. Future events from the game are always just a Google search away, but one of the joys of The Last of Us is watching Pascal and Ramsey’s chemistry develop alongside their characters. The growing affection he has for Ellie might not absolve Joel of killing people (some undoubtedly innocent) over the past two decades, but it gives him a new purpose outside of pure self-preservation. Seeing someone so young accustomed to such violence-and again, at an age close to that of his own daughter-finally brings out some sympathy in Joel, who begins seeing Ellie as more than just a means to an end. As they hide out, Joel attempts to comfort Ellie about having to shoot the stranger-at which point she explains that it’s not the first time she’s harmed another person. The situation draws Kathleen’s attention, and she has troops scour the city. Instead of being merciful, Joel tells Ellie to walk away from the scene before he finishes the job. While the bullet isn’t fatal, it’s a harrowing moment that leads to the stranger begging for his life he looks less like a credible threat and more like a scared kid in over his head. During this face-off, Ellie shoots a young man who’d gained the upper hand on Joel. Trying to cut through Kansas City on the way to Wyoming, Joel and Ellie are ambushed by unknown assailants, later revealed to be part of an anti-government revolutionary movement led by a woman named Kathleen (Melanie Lynskey).

While Joel and Ellie have a prickly dynamic at the start of the series, Sunday night’s episode, “Please Hold My Hand,” is the first major step for the characters as they learn to care about each other on a more intimate level. ‘The Last of Us’ Continues to Adapt Its NPCs Into Main Characters ‘The Last of Us’ Takes a Pleasant (and Necessary) Detour From the Game