Kaitlyn Dever 'Couldn't Watch' Pedro Pascal and Bella Ramsey's Final Moment in ‘The Last of Us': 'I Don't Know How You Guys Did That'
Pedro Pascal, Bella Ramsey, Kaitlyn Dever, Joe Pantoliano and editor Timothy Good joined co-creators Craig Mazin and Neil Druckmann at the event, with the season's second episode — which sees Dever's Abby brutally murder Pascal's main character, Joel — the subject of much of the conversation.
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'You're so inside of it that you really kind of lose sight of what it will mean when a TV audience experiences episode two of season two,' Pascal told the crowd, and given that Joel also dies in the video game that the series is based on, 'I'm like, 'Well, everyone knows this is gonna happen,' because I've just been living with it for such a long time. I guess the context of that is that none of us were really thinking about that as we were shooting it. We were just like really in the story.'
It was a surprise to many fans, though, and is a pivotal part in the series; after an appearance in season two's first episode, the second episode serves as the formal introduction to Abby — who will take over as the lead character for the upcoming third season — as a young woman out for revenge after Joel killed her father.
'Kaitlyn just came in, I had no doubt in my mind that she was going to knock it out of the park, because I'd seen her knock everything out of the park that she'd ever done up to that point,' Pascal continued. 'So there was a dance that we just got to enjoy that really, to just be scene partners for something as intense as that, and right away just be in it together. It was really fun.'
The star also noted how he and Ramsey — whose characters are not on good terms in season two — had been apart for a while between the show's first and second seasons, 'because we'd been together for a year, and then we saw each other here and there — we're always keeping in touch, but we were really, kind of like physically apart for a long time, and then when we got back together, our characters weren't together. That was just really strangely painful in a way that I hadn't personalized on previous jobs. So it was all kind of magical in a kind of painful way which helps you play it.'
Mazin commended Dever for her performance in the violent scene, emphasizing, 'I don't know how Kaitlyn was looking at Pedro, turned to look at golf clubs, turned back and a tear fell. I don't know how she did it.' Dever threw the compliment right back at Pascal and Ramsey, for the scene when Ramsey's Ellie sobs over Joel's lifeless body.
When 'Joel is lying there dead, I don't know how you guys did that moment,' she told the pair. 'I had to leave the room. I couldn't watch it. I don't know how you did it.'
Dever also explained that when it came to her character, 'the most important thing to me when I was going to play Abby and doing the prep for her is just really focusing on her grief. I wanted people to be able to really see that and feel that and really understand just how deep her pain is, understand how much time she's spent thinking about this and obsessing over it and calculating exactly what she was going to say and what she was going to do when she was face-to-face with Joel.'
'There was a moment at the very end when she kills Joel, and I think that there's a moment where she doesn't feel better and now she has to live with that,' she continued. 'So I really wanted to just be able to see the human parts of her and that she's not just this evil person that did this horrible thing.'
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Chicago Tribune
2 hours ago
- Chicago Tribune
Michael Peregrine: 60 years ago, the Beatles invaded Comiskey Park
Before Beyoncé and Taylor Swift were John, Paul, George and Ringo. The Fab Four. The spearhead of the British Invasion. Then, and probably still now, the most popular rock 'n' roll band in the world. Wednesday is the 60th anniversary of the Beatles' performance at Comiskey Park. You read that right — the Lads from Liverpool played at the Baseball Palace of the World in Bridgeport, not at the future national historical landmark at Clark and Addison streets. With the band's popularity at global proportions, the event at the time was one of the most anticipated musical performances in Chicago history. The actual performance was the rock 'n' roll equivalent of a day-night doubleheader. The band appeared in the afternoon before a crowd of 25,000 people and again in the evening before 37,000. Note that the White Sox were then averaging only about 14,000 fans per game. The Beatles had arrived in Chicago red-hot, in the middle of a wildly popular national tour that began with the famous concert in New York's Shea Stadium. They were riding the crest of popularity from multiple No. 1 hits, and the release, only a few days earlier, of their second movie, 'Help!' Their journey to the Comiskey concert was typical of the bedlam that accompanied their performances. Band members were flying into Chicago from Houston, the site of their most recent concert. According to news reports, they were not allowed to land at O'Hare airport due to the authorities' concern that their presence, and the associated fan attention, might play havoc on airport operations. They were diverted to Midway and had to make an arduous cross-town drive to their accommodations at the Sahara Inn North at 3939 Mannheim Road, next to O'Hare, where they had stayed during an initial 1964 visit to Chicago. According to news reports, band management had avoided prime downtown hotels for security purposes. Yet their plan was reportedly betrayed by leaks from the hotel staff, which quickly led to pandemonium. Throngs of young fans swarmed the hotel, forcing the band to leave through a back corridor, an ongoing occupational hazard for the Beatles. According to the Beatles' recorded history, the Comiskey Park set list was a familiar one to fans of the band's early years: a short version of 'Twist and Shout,' followed by 'She's a Woman,' 'I Feel Fine.' 'Dizzy Miss Lizzy,' 'Ticket To Ride,' 'Everybody's Trying To Be My Baby,' 'Can't Buy Me Love,' 'Baby's in Black,' 'Act Naturally,' 'A Hard Day's Night,' 'Help!' and 'I'm Down.' It's a fair bet that a large percentage of Chicago baby boomers could sing the lyrics to each of those songs on a moment's notice. In many ways, the summer of 1965 represented the height of Beatlemania and the hair-pulling, foot-stomping, stage-crashing euphoria that it typified. The band would, of course, go on to greater commercial and artistic success and acclaim. But it was changing, the times were changing and the music was changing, too. 'Rubber Soul' and 'Revolver' arrived in late 1965 and early 1966, respectively. 'Sgt. Pepper' and 'Magical Mystery Tour' followed in 1967. The Beatles stopped touring at the end of 1966 and disbanded in 1970, which makes the Comiskey Park concert a unique moment in time. Every generation is entitled to its own form of musical rapture. For the baby boomers, it was — and remains — Beatlemania. And it lives on though films such as Martin Scorsese's 'Beatles '64' and Disney's 'Let it Be'; through documentaries such as 'McCartney 3,2,1'; through two new books about Ringo Starr; and through Ringo and Paul McCartney's constant touring. And the indefatigable McCartney is expected to pack the United Center for his Nov. 24 and 25 concerts. Old Comiskey Park is of course gone now; they paved that paradise and put up a parking lot. But the location of home plate has been preserved in a faithfully created marble marker, inlaid in the surface of the lot just north of the new Rate Field, by Gate 5 in Lot B at the northeast corner of 35th Street and Shields Avenue. So the next time you're at a Sox game, go over and stand in at the home plate marker. Look to the northeast toward an imaginary second base, where the Beatles' stage was once set up and where the band stood in its classic formation. Then close your eyes for a second and believe in yesterday. When you were just 17. You know what I mean.
Chicago Tribune
3 hours ago
- Chicago Tribune
Today in Chicago History: The Beatles play two shows at Comiskey Park, and scarcely a note was heard
Here's a look back at what happened in the Chicago area on Aug. 20, according to the Tribune's archives. Is an important event missing from this date? Email us. Weather records (from the National Weather Service, Chicago) How George Halas' columns for the Chicago Tribune, a field goal and a charity game helped the Chicago Bears prove their legitimacy in 19351948: The National League champion Chicago Cardinals beat the College All-Stars 28-0 in front of 101,220 fans at Soldier Field. Chicago White Sox pitchers have thrown 20 no-hitters since 1902 — including 3 perfect games. Relive them all here.1957: Bob Keegan — at 37 — became the oldest player to throw a no-hitter for the Chicago White Sox. The Sox beat the Washington Senators 6-0 in the second game of a doubleheader at Comiskey Park. 1961: The international press called it 'a stunning upset.' Three American teenagers scored a Wightman Cup victory at Saddle & Cycle Club over veteran British tennis stars Ann Haydon, Cristine Truman, Angela Mortimer and Deidre Catt. Billie Jean King on today's tennis, the media and a new play at Chicago Shakespeare about her lifeThe American teens were Karen Hantze and Justina Bricka, both 18, and bouncy 17-year-old Billie Jean Moffitt, who spurred on her own game by muttering 'Come on, baby' to herself. Moffitt later played under her married name, King. The American teens had lost to the same Britons at Wimbledon earlier in the year. They said that playing the established British stars before huge crowds helped them gain experience and confidence for the Wightman matches in Chicago. 1965: After arriving quietly at Chicago's Midway Airport, the Beatles played a day-night doubleheader at Comiskey Park. More than 50,000 incessantly screaming fans drowned out the Beatles during the 3 p.m. and 8 p.m. shows. John Lennon, then 24, was not annoyed. 'They pay good prices to get in (top tickets, $5.50). Who are we to say whether or not they should scream?' A solid line of officers sat shoulder to shoulder, with their backs to the infield, to prevent teens from taking second base, where the Beatles performed on a plywood bandstand. Paul McCartney singing 'I'm Down' pumped up the volume of the screamfest. Based on that alone, Tribune reviewer Will Leonard surmised that this was 'easily the artistic success of the evening.' The take at the Comiskey gate was an estimated $150,000 to $160,000, compared with the year before at the Chicago Amphitheatre, when the Beatles had a reported $30,000 in ticket sales. After the concert the Beatles stopped at Margie's Candies in Bucktown for ice cream, recalled owner Peter Poulos Jr. 'They sat at the back booth and ordered Atomic Busters (banana splits standing up). They began singing, John was standing on the table. The place was packed. They stayed about an hour.' 1976: Polish Cardinal Karol Wojtyla led a group of bishops on a tour of the United States that included Chicago. He returned in October 1979 — then known as Pope John Paul II. 2014: The Chicago Cubs won 2-0 over the San Francisco Giants after 4½ innings and a 4-hour, 34-minute rain delay when the grounds crew mishandled the tarp. The Giants appealed the ruling, won, but lost 2-1 a day later. Subscribe to the free Vintage Chicago Tribune newsletter, join our Chicagoland history Facebook group, stay current with Today in Chicago History and follow us on Instagram for more from Chicago's past.
USA Today
3 hours ago
- USA Today
'Beyoncé Bowl,' Super Bowl choreographer started working with Madonna in high school
From the "Beyoncé' Bowl" to the Super Bowl, Charm La'Donna has choreographed some of pop culture's defining moments. Now, she joins a rarefied group as only the fourth Black woman ever nominated for an Emmy in choreography. This year, La'Donna earned two Emmy nominations for outstanding choreography for variety or reality programming — one for her contribution to Beyoncé's NFL Christmas Day halftime show and another for Kendrick Lamar's history-making Super Bowl halftime performance. Both stand among the most talked-about cultural moments of the past year. "The 'Beyoncé Bowl' was my first time working with Beyoncé, and it was just a beyond amazing experience for me," La'Donna says. "I'm so grateful and blessed to be able to work with amazing artists across the board — Beyoncé and Kendrick included. I feel like every project that I work on has some impact on me." The two nods make her the fourth Black woman in history to be recognized in the choreography category at the Emmys, joining Debbie Allen, Chloé Arnold and her mentor Fatima Robinson. And while her work has been showcased on some of the world's biggest stages and tours, she greets the recent recognition with a humble heart. 'I don't even know if I have the words, to be honest," she says. "The first thing I say is that I'm blessed and grateful. I'm still in shock. It's an honor just to be acknowledged on this type of platform. It's definitely a dream come true." Born Charmaine La'Donna Jordan, the Compton, California, native was raised by her mom and grandmother and began dance training at age 3. Her career blossomed early, with formal studies at Regina's School of the Arts before she attended Los Angeles County High School for the Arts. By the age of 10, she was cast in a video under Robinson, who took her under her wing. At 17, while still in high school, Madonna hired her as a choreographer. La'Donna went on to earn a bachelor's degree in world arts and cultures from the University of California, Los Angeles while continuing to work professionally. "Being from where I'm from and from Compton, and growing up in the city of Los Angeles, that is very heavily rooted in who I am, how I move and my experiences," La'Donna says. Inspired by hip-hop and R&B, her style mixes street and formal training with a focus on musicality and emotion. However, she sees herself as more than just a choreographer. She's also a storyteller, tastemaker and soon-to-be-director. "I call myself a hybrid. I have trained in many different styles, art forms of dance, and I feel like all of the styles that I've been able to study are blended well and put out through me," she says. "So I take my experiences, I look at the world, and I'm able to blend it in my body, and God allowed me to move and put it out." While this year marks her first two Emmy nods, she has an impressive track record. She has collaborated with top musicians including The Weeknd, Dua Lipa, Shakira, Selena Gomez, Megan Trainor and Pharrell Williams. La'Donna was recently nominated for best choreography at this year's MTV's Video Music Awards for Kendrick Lamar's 'Not Like Us' video. Last year, she took home the same award for her work on Dua Lipa's 'Houdini.' She's now looking to expand into TV and film, launch mentorship programs for dancers and step into directing. "I think the accolades are beautiful and we work toward them, but I love the process," she says. "I love the work that goes into creating the art for whoever to see. You're talking to the little girl who used to choreograph in her room by herself, and now I see my work all over the world." Produced by Beyoncé's Parkwood Entertainment and Jesse Collins Entertainment, the "Beyoncé Bowl", which is now standalone special on Netflix, received four nods at the 2025 Emmys. Kendrick Lamar also garnered four nods for his Super Bowl performance. While the award show is slated for next month, Beyoncé already earned her first Emmy for outstanding costumes for variety, nonfiction or reality programming as a costume designer along with other members of her team. This year's Primetime Emmys will be Sept. 14 in Los Angeles. Follow Caché McClay, the USA TODAY Network's Beyoncé Knowles-Carter reporter, on Instagram, TikTok and X as @cachemcclay.
