Sing Me a Song: Review for The Walking Dead 707 by R.C. Murphy
Warning! This article contains episode spoilers.
Rest your worried minds, Daryl fans. You won’t need secret decoder rings for his new mute lifestyle. He’s not a poor, injured bird needing a helping hand. Contrary to just about every fan theory floating around after Negan’s big visit to Alexandria, Daryl’s tongue wasn’t cut out, nor were his lips somehow secretly sealed shut—guess y’all are so bored you’ve resorted to outlandish theories to pass the time like this is the Westworld fandom. The dude simply had the wherewithal to keep his trap shut while around people Negan would hurt in a blink if it guaranteed Daryl would finally fall in line. That good sense flew out the window once the guys reached home-sweet-home. One would think with Carl going all Rambo, Daryl would be extra mindful to provide an example in how not to get dead. Instead, he constantly oversteps his bounds—an intentional, ham-handed way to get Daryl alone in his time-out closet so someone can just hand him the key to freedom. Passive character is passive and only gets dragged along to boost viewer numbers.
The story is overly padded with side missions to find stuff or make stuff . . . and things. The Rick arc is pointless. Why do we need to follow he and Aaron on a fruitless—so far—supply run? Then we leave them without having any real conflict beyond, “Oh, there may be stuff in that boat in the zombie-pond.” Spencer accidentally scores a big hit after rifling through a dead guy’s pockets. Spencer could accidentally cure the dead and I wouldn’t care. His character isn’t. He’s Silly Putty, copying whatever’s around him, but half-assed and backwards. When Spencer does attempt to become a valuable part of society, he fails to support anything beyond his own interest in predictable ways. Rosita drags Eugene to the one place he doesn’t want to go—the warehouse with the makings for the now defunct bullet factory he and Abraham planned. After a lot of belittling, Eugene gives in and makes her precious bullet. At this point, any character out on a suicide mission should just get it over with. Oh, Michonne is already ahead of me, there. She’s following a trail straight to Negan, and opts to use a shortcut by abducting a Savior at sword-point. Jesus is with Carl up until he’s tricked into bailing from the truck, then he’s just gone. Whatever. There’s so many plates in the air, every single one will come crashing down in an incomprehensible mess instead of a cohesive mid-season finale.
The big story in the episode is Papa Negan’s reaction to Carl Jack-in-a-Boxing out of his truck with an automatic weapon in hand, killing a couple Saviors. Negan doesn’t snatch the whelp by his scruff and introduce his face to the pavement, though he has every right. Nor does he raise his voice to the kid, that’s saved for Daryl’s constant backseat nagging. Nah, Negan takes Carl inside, introduces him to the wives, orders snacks for them, and they sit to chat about Carl for just a little while. Keep in mind, Carl hasn’t really had a parent figure since season one. After Rick returned, Lori focused on her love triangle, leaving Carl to wander as he will. After Lori’s death, Rick dives into his plan to save humanity, leaving Carl to raise himself—and everyone else to raise Judith. Having a man sit and talk about him and not to him must’ve been weird. Not as weird as Negan’s obsession with Carl’s ragged eye socket. The talk buys time for the real show of power—where Negan provides the example Daryl wouldn’t, demonstrating what happens when rules are broken. The entire thing is orchestrated by Negan, down to Dwight—who’d met the iron after his insulin heist—passing the red-hot implement of justice to the bossman straight from the fire. I’ll tell you from experience, once you’ve had a severe burn over a large portion of skin, you’ll never forget the instant your nerves registered the pain.
Carl’s lack of enthusiasm, or fear, calls for drastic measures. No, Negan doesn’t reintroduce him to Lucille. They go on a little road trip, instead. For the second time, Negan rolls into Alexandria like he owns the place. Which, I guess he does. With Rick out doing next to nothing, Negan makes himself at home in his house, kicking back with Olivia and Carl. Making obscene comments. Ordering some really good lemonade. Oh, and he spends more time cooing at Judith, whom Carl attempts to hide, than Rick has done in ages. Rick is always just there with the kids. He doesn’t really react to them. He holds Judith, but always thinks of stuff ‘n’ things and stares in the distance. Carl could impregnate a horse at this point and Rick would wave it off.
We end with Negan threatening to kill and bury them in the garden before he moves in and takes over the little slice of heaven in Alexandria. Please do it. I’m tired of seeing everything from Rick’s point-of-view.
The Well Review for The Walking Dead 702 by R.C. Murphy
Whoa! Hold on a minute. There’s episode spoilers below. Proceed with caution.
Why does it feel we were cheated out of more depth in the premiere after seeing what the production team did to present a fully-fleshed Kingdom?
Lennie James as Morgan Jones, Melissa McBride as Carol Peletier – The Walking Dead _ Season 7, Episode 2 – Photo Credit: Gene Page/AMC
Because we were cheated. The premiere, as I said before, was edited specifically to make cliffhanger naysayers wait for any story resolution. That petty decision killed the episode’s pacing, making this week’s feel refreshing, but not for any reason the TWD crew wanted. It’s refreshing because something actually happens. Carol and Morgan go places, do things, grow as people, and find their place in the world during the scant forty-something minutes allotted. Rick stared at some zombies, got people killed, and ended up exactly where we knew he would—in league with Negan.
I guess what I’m getting at is, they don’t know how to write or direct their main character or the super-bad guy they’ve brought in to shake things up. High-tension moments for Rick and Negan turn laughable when silence is held for thirty seconds too long. But when Carol and Morgan discuss her departure from The Kingdom and having the free will to do so, I couldn’t turn away. There is no immediate threat to either character. No hammer over someone’s head at another location to instill concern in the fans when the scene’s substance is lacking. It’s just two people discussing the future with the weight of their weariness in their voices, and I wanted more. More frank discussions about who these people have become since leaving Atlanta. More Carol not giving an ounce of crap about what anyone thinks and calling them on their bull. More time with Morgan as a teacher, not a killer. And I definitely want more long conversations in the dark with Ezekiel and Carol.
Does his apple taste as sweet as promised? Man, there’s so many innuendos at the episode’s end, my head spun. And I loved it. We needed new characters to come in and remind us, not to mention our favorite survivors, that laughter is a thing. A joke won’t bash in your head. Giggling won’t cost an arm or a leg. No one will bite your face off if you smile at the stupid pun dancing through your head. Society for us, and on the show, is a nightmare. Finding the people who’ve still got the ability to look at the bright side of life is vital to balancing the mental trauma from the apocalypse—and this year’s election. That being said, Jerry is totally my favorite thing since sliced cheese. His zany antics balance Ezekiel’s carefully calculated demeanor. We need, nay we deserve a Jerry-centric episode. Someone make this happen, please.
Do I need to mention the tiger? Shiva is a wonderful addition. Her animation isn’t clunky and she’s “grounded” in the room, but I feel they did too much by adding a couple unnecessary shots during Carol’s initial introduction to King Ezekiel. Save your budget. Gonna need it for fake blood during Negan’s episodes.
Speaking of our favorite a-hole, he’s got his fingers in The Kingdom’s pies, as well. Smart cookie that he is, Ezekiel uses Morgan as backup several times throughout the episode, namely when they’re gathering and delivering tribute to the Saviors. These little piggys aren’t all they seem. They’ve been eating walkers for who knows how long before they’re butchered and handed over. Presumably this is done in order to make the Saviors sick during a long game of revenge. All I can think of is Bob yelling, “Tainted meat,” while the TERMINUS survivors enjoy their Bob-b-que. With The Kingdom paying tribute regularly, Rick is bound to end up on pickup duty one day. What a day that’ll be. I hope Morgan knocks Rick’s face sideways with that stick of his before one word is said.
Come on, we all know Rick’s earned it.
Looks like we’re catching up with Daryl next week. Expect man tears, dirt, blood, and probably unnecessary male nudity. They’ve got to do something to bring female fans back to the television, and selling Daryl as a sex symbol seems to be the only plan in the TWD playbook. Maybe they’ll surprise me and make the episode truly deep and meaningful. Yeah, and I’ll win the Lotto next week, too.
Yeah, the warning is right on top this week. We’ve got a lot to discuss and little time to pussyfoot around with generalizations and all that rubbish. You guys waited months for this episode. Was it worth the anger at the producers and writers who said we’d be glad for so much time to stew over who died? Do you feel cheated by the dual deaths? How about all that brain matter on the ground, was it too much? Most importantly, are any of us really feeling the emotion between Rick and Negan or will the directors continue leading it to an awkward place where it’s laughable?
I, personally, feel cheated out of the surprise. The producers showed their hands months ago when they continuously stated that the show would gradually realign with what happens in the comic books. One death talked about constantly is Negan murdering Glenn. Hell, someone just released an action figure featuring Glenn’s mangled face as it’s shown on the page—which is almost identical to what’s on screen for that heartbreaking apology to Maggie. Almost in the same breath as the realigning statements, TWD higher-ups denied that Glenn would die. Red flag. Red flags everywhere. It was raining them at SDCC 2016. Since then, I’ve spent the time away from TWD saying goodbye to my favorite character. So when Negan first hit Glenn, my reaction was a resigned sigh. Then profanity, and more sighing. The show which constantly states they want to break boundaries and do new things is still utterly predictable.
Abraham’s brutal murder wasn’t overly shocking either if one stops for even a minute to think as Negan would when sizing up his newest assets. Manipulation is his bread and butter. One look at Rick’s people and how they handled interactions with the Saviors told Negan everything he needed to know—kill Abe because he’s ride-or-die loyal, keep Daryl because he’s mentally fragile and can be manipulated just like Rick. This is easy for Negan. Twisting people’s minds to do what he wants is the sole reason he’s not rotting in a walker’s gut. So why would an astute audience willingly overlook this? Why, TWD writers, would you go for the two characters who make the most sense if your desire was to shock, surprise, and devastate? Anyone with half a brain who tunes in regularly knew we’d lose Abraham. Daryl sells too much merchandise. Rick’s demise would’ve been awesome, but ultimately disappointing because the lead-up to the murder scene was so lackluster and drawn-out. Killing a woman would’ve started a feminist war in the fanbase. Carl was a good candidate, but he’s got too much potential to carry the show forward now. Plus in Negan-sense, he’s a carrot to dangle in front of Rick to ensure good behavior. The remaining gentlemen, as much as we adore them, just wouldn’t have the same impact. I would’ve been more shocked by that scene if Negan didn’t kill anyone, but just as pissed off with the direction the show took for the season premiere.
I mean, since when is five minutes of Rick staring at a set we’ve already seen before gripping television? He’s supposed to have a breakdown during the whole axe-fetching scene. Okay, that’s believable. So why did it involve long shots of walkers shuffling through smoke cut with the footage shown at SDCC with Lucille and the main cast? The scene felt like something from an indie band’s music video—a lone, agonized man surrounded by the cheesiest surroundings ever, just to feel spooky. Then, to make the death scenes mean even less, they show clips with Rick imagining everyone else getting a kiss upside the dome from Lucille. Why? We already know what he’s thinking. A good actor can do that, and Andrew Lincoln is no slouch when it comes to his face betraying every thought in Rick’s head.
They wanted to come into the Negan Era with a loud noise. In order to make noise, the plot’s gotta move faster than a snail’s pace. Inertia. Ever hear of it? The ball doesn’t roll and keep rolling without a hell of a push. It took the show fifteen minutes to get to the murders. I almost turned it off, thinking they’d strung us along for yet another week, and I was done if that were the case. It wasn’t, but the scene is buried so far in the episode, it does no good other than to turn stomachs. The only reason the scene is hidden in the episode is because of the backlash from the season six cliffhanger. Many fans felt as I did; we’ll watch the opening scene for season seven to learn who died and move on to another, more entertaining show which actually strives to write coherently. In a direct thumb-nosing to the noise-makers speaking against the cliffhanger, they cut together the episode just to make us wait through a couple commercial breaks. How nice of them to ensure the show makes a buck from a group who’re pretty likely to throw out their TWD fan badges after learning who died. I’m not tossing my badge in the fire just yet because I have hope the Negan era will smooth out, but it’s a near thing after this episode.
The violence in the episode really struck some sour notes across the fandom. Every complaint I see is met with a laugh. Fans derided the writers when there wasn’t enough undead violence. They scream for blood anytime a character or group disrespects the main cast. Yet the bad guy, who we’ve been warned about constantly since the show began by fans of the comics, comes in and does exactly what he’s supposed to, and it’s suddenly too much for the delicate flowers planted on their couches. Take up gardening if you can’t handle fake blood on a show centered on how messed up humanity is without actual rules to govern it. Were the close-ups too much? Possibly. I’m not one to judge. Horror and gore are my jam. I only started watching TWD to see what KNB FX could do with extended time to develop creatures and death gags; they’ve yet to disappoint. I will state that wanting a show built on the premise of killing things in order to survive to shy away from gruesome murders is like expecting a unicorn to lick away your tears while curing cancer. It won’t happen.
For the most part, we already knew what’d happen plot wise: Someone dies, Rick and Negan have a long moment to deal with Rick’s stubbornness, the Alexandria crew is absorbed by the Saviors, and Maggie wants blood, but she’s in no position to even walk, let alone lead a war. Daryl as the cause of Glenn’s death was the lone surprise for me—as I stated, I saw the death coming, just not how it’d happen. We’ve waited since Merle’s death for Daryl to be relevant to the plot again and now I want him to be the next big death on the show. Why? Because Daryl knew dang well that someone else, not him, would die for that single punch. They all knew Negan’s M.O. by that point. Abe died because of Rick’s hubris, yet that wasn’t lesson enough for everyone’s apocalyptic savior? Yeah, no. I’m beyond done with their failed attempts to make Daryl into an actual character. He’s been a two-dimensional promotional tool for so long, they’ve forgotten the character has a brain.
Now that the clunky season opener is behind us, maybe the ball will roll through season seven better. But, wait, we’ve still got a whole ‘nother group to introduce over at The Kingdom. If that episode is as awkward and poorly timed as the Negan/Rick glare-downs in the RV, I don’t know how much longer they can continue to pretend they know how to produce a show, let alone write one with so much potential for real depth and ability to shine a light on the massive problems in today’s society. They keep dropping the ball. I’m tired of waiting for someone in the TWD production office to finally pick it up and run it in for a touchdown. It’s time they returned to giving fans entertainment of substance instead of shilling the Walking Dead name and filling their coffers.
The Walking Dead SDCC 2016 Coverage By R.C. Murphy
The annual walker invasion at San Diego Comic-Con took place from July 21st through the 24th. Okay, there were a few thousand other people there, as well. Comic-Con is kind of a big thing, if you’ve lived under a rock for the last few years.
One of the most anticipated panels this year was The Walking Dead. Lucy had some ‘splainin’ to do about that angst-generating cliffhanger ending. Which is why Robert Kirkman struck that iron while hot shortly after the producers took the stage. Aside from numerous statements defending the ending since the finale, he simply added that fans would love the payoff from waiting so long for the reveal. We’ll agree to disagree, as we have since he first stepped on a soapbox to defend knee-capping Negan’s big moment.
What’s new for season seven? The producers confirmed a visit to The Kingdom, plus many more survivors and locations. Gale Anne Hurd meowed at one point, which baffled show fans who haven’t delved into the comic world. Kirkman admitted that once the show took off, he included things in the comics they’d never put on television. The show’s other producers picked up the gauntlet and plan to include some of the outlandish comic ideas into season seven. Sometimes these things bites one in the backside. In this case, one idea can bite off an entire backside and then some.
Right before they premiered the trailer, Nicotero shared new walker concept art. Looks like we’ve got more burned walkers on the way, plus the older walkers continue to become more mummy-like, and I don’t even know what happened to the bulgy walker. Death by bee hive attack?
Okay, on to the trailer.
I was really looking forward to seeing Jeffrey Dean Morgan swaggering on the screen. Instead, we got a rehash of the finale’s final scene, along with a cliché memorial video of sorts superimposed over Lucille. I would’ve gladly taken just the cropped shot of him slamming Lucille down on an unseen victim after a pan of the group by the RV. Instead they padded the footage with what is essentially an overly emotional teen girl’s video scrapbook. All that’s missing is the sappy song. The second half of the trailer delivers new characters, but too fast to identify any faces. We meet Ezekiel, leader at The Kingdom. Something we’ve rarely seen on this show is animals. Well, that’s about to change. There’s beasties coming. Most notably, Shiva, Ezekiel’s pet tiger. Funny how a few years ago, the show’s budget was nitpicked right and left. Suddenly they’re okay with tossing huge chunks of cash in to make CG animals.
The actors hit the stage when the trailer wrapped. Andrew Lincoln told fans, “Hang in there, guys.” He went on to say Jeffrey Dean Morgan has way too much fun as Negan. Which, as we already know, is probably creepy as hell on set, despite JDM’s infectious smile. There’s just something about a grinning guy wielding a barbed wire-wrapped baseball bat to make one’s sphincter clench. Lauren Cohan said, “We go to very physical and emotional places.”
Pretty standard quo for this show, but things are just beginning to take a turn for the worst. Nicotero confirmed it when he said this [their current situation with Negan] isn’t rock bottom.
The panel devolved into talk about on-set pranks and several cast members doing impressions of other actors. They did air the footage from when Reedus dumped a ton of confetti in Lincoln’s car air ducts. The first time I watched it, I couldn’t breathe because I laughed so hard.
I wasn’t happy with TWD at the end of season six, and they still haven’t done much to convince me they grossly mishandled Negan’s entrance. Yes, we get a flippin’ tiger next season, as well as a smarmy yet charming Big Bad, but fans are kind of a puppy kicked too many times. They’ve promised so many grand things, what happens if these season seven grand plans fizzle like the drawn-out Beth storyline?
Once you jump the tiger, there’s no going back. Hope they have a solid game plan going into this highly unpredictable season.
Even fans who’ve been upbeat and optimistic got to the last thirty seconds in the finale and probably had a similar reaction to what exploded from my mouth. No, I can’t repeat it. We’re a family-friendly site. It’s so frustrating seeing a glimmer of what they can do with this story line, but realizing it’s too late. The damage is done. Negan’s introduction should’ve come in episode 608, no later than that. Heck, I may have even accepted this ill-advised cliffhanger if it were the mid-season finale. However, after sixteen episodes of virtually nothing, they cannot dangle the Biggest Scariest Bad Guy in front of us and not give any resolution. Yes, death can be a resolution. The group needed to be brought fully into the New World Order. The only way to do that is for one person to die. That’s the deal they’ve been told all along. Each time someone mentions the Saviors taking over, it’s accompanied by a mandatory death to make a point, or in this case get even for a lot of dead guys. Imagine Lord of the Rings ending with Gollum tackling Frodo. Is the ring destroyed? Does Sauron get a clue and regain his property? Every writer knows there has to be resolution to the plot, even if it’s just to wrap up part of what’s going on.
What’s the point of spending all this time and effort to film Negan’s cat and mouse game if the bad guy isn’t really all that bad? Don’t get me wrong, Jeffrey Dean Morgan is better than anticipated as Negan. He blew me away with one smile and, “Pissing your pants yet?” I could not be more pleased with where the show is going in terms of a quality antagonist. Well, an antagonist besides Rick’s massive ego.
Negan stole the show, hands down. He wasn’t the only one delivering a stellar performance despite a script lacking any real depth. Everyone gave it their all. I understand why so many were weary after, but where’s the vomit-inducing portions? The most shocking thing is the hanging, really. Hysterically, they shot that in full detail, yet kept the ever-promised major death a cliffhanger. And while, yes, it has an impact, there’s nothing personally at stake for the characters until they’re shot at and run. Much like the ending; we came into the finale expecting to put any character’s life at stake and came out with no one immediately in danger. There’s six months to shrug it off. Where if they’d given us a death, it’d be six months wondering how they’ll survive without so-and-so.
I’m at the point where I find fun where I can with the show before I lose my mind. Honestly? Negan is fun and I want to see where he’ll go.
Melissa McBride as Carol Peletier; Walker – The Walking Dead – Season 6, Episode 16 – Photo Credit: Gene Page/AMC
It’s irritating that it’s no longer enjoyable to watch the people we’ve grown to love or love-to-hate for six seasons. Carol has been a favorite character since the get-go, but when her life was seconds from ending, I didn’t care. The writing changed her so much, the character begging for death wasn’t the one I’d invested my fan-love into. The best part of her story arc is Morgan killing for her after she warned him that caring will always lead to doing anything to keep them alive. Again, it’s a long, drawn-out arc for a twenty–second payoff.
So here we are, waiting to find out who bites the big one and none of us are happy about it. The TWD team are scrambling to defend their decision. You know what? I’m not even going to bother reading their excuses. That’s what it is now, nothing but excuses. They got too comfortable being on the pedestal. When it came time to put Lucille to work, they didn’t have the guts to push their boundaries, lest they fall. It backfired. How many fans will stay with season seven after the premiere? I have a feeling most will watch to find out who died and move on to bloodier pastures.
Is there something in Alexandria’s water? Not only are main characters losing their marbles—Maggie, Carol—but there’s another rash of B characters doing half thought out things and ending up taking tea with Death. Once again, we’re stuck waiting for the main plot to reach something resembling a conclusion while stalled with side stories writing off characters who make the show messy. Why else would they put an arrow through Denise’s eye? She’s the other half of the show’s only currently visible homosexual couple. Yes, we have Aaron and his husband, but their shock value wore off, so they introduced the lesbians. It’s like that thing they keep doing where there’s only Michonne, Glenn, and one other person of color in the main crew. Never mind them stumbling across minorities known to live in the areas they’ve visited and lived. Having visible LGBT couples is morally compromising. Bringing in Negan, Captain Inappropriate from everything we’ve been promised, means pushing boundaries which are already pretty stretched by their half-handed attempt to embrace diversity. This is where the show loses this game of chicken with the fans. They push, push, push, and when fans don’t flinch or react the way they want, they change course and drop the idea in a convenient way. Commit to something other than fanservice. We want a coherent story, not to catch them sweeping things under the rug to make room for something I’m starting to lose faith in.
We start with another poorly handled time jump, this interval expressed as a few Groundhog Day like montages featuring the town guards changing shifts, Gabriel on patrol in the fence, and Carol smoking while obsessing over the crucifix from the last episode. Morgan finishes the jail cell, telling Rick it’ll give them more options next time. He’s not wrong. This is the only time we see Rick, by the way.
After the opening credits, it’s pretty much just characters which haven’t had much screen time or character growth. Which makes one wonder why anyone would put the penultimate episode for the season in the hands of characters no one cares about anymore. “But, Daryl!” He hasn’t had a meaningful part in the plot other than playing Terminator since the season began. His part in this episode is basically to escort Denise to her poor life choices. Rosita is in the same boat, her story only complicated by falling in bed with Spencer and planning dinner with him. Denise leads Daryl and Rosita to a fully-stocked apothecary. They score the loot, but Denise plays snoop, scaring herself after finding a walker and what may have been a drowned child. No one is hurt. All they have to do is walk back to the truck and drive home. Then Denise continues to self-sabotage in the guise of self-help, breaking into a walker-protected car to raid an ice chest for soda. Daryl is pissed. Rosita is dumbstruck. Denise suddenly starts yelling a bunch of stuff which really doesn’t make sense, but the gist is she doesn’t feel brave and stupidly almost getting eaten to steal soda means she’s brave enough to openly love Tara. She only took Daryl and Rosita to encourage them and feel safe.
Safe until Dwight—the guy Daryl failed to kill when he stole his motorcycle—shoots her in the eye.
While the trio were shopping, Abraham took Eugene to a warehouse where the Brainiac wants to produce ammunition. It’s a great plan. Then Eugene gets a bug up his backside about his bravery as well, calling dibs on a walker he so cannot kill. He and Abraham fight after the big man steps in to help. It ends with Abraham just leaves his buddy after Eugene fires him from protection duty. This is all so Eugene can get captured by Dwight and his many companions and used as leverage against Daryl and Rosita. Abraham hangs around, somehow accidentally finds them, and helps send the bad guys back wherever they came from. In the process, Eugene is shot. They carry him back home to patch the wound—just a graze.
After Daryl and Carol bury Denise, Carol leaves a note for Tobin stating she should’ve never come back and she’s leaving again. For good. Don’t try to find her. Because, when they can’t figure out how to salvage a character, it’s easier to have them just walk off into the sunset. I honestly don’t think she’s gone. Carol will either end up dead at Negan’s feet in the finale, or forced to kill and save them all. They can’t spend the entire season messing with her only to have her leave a Dear John letter like a coward. Then again, character integrity seems to be the hardest continuity issue for this show to maintain.
I’m tired of the camera gags they use more and more often on the show to prove, “Hey, it’s from a comic book. We do comic book like things! Aren’t we cool? Don’t we do awesome, obviously cartoony things like that Dead-whatever guy?” First, they use CGI to put blood on the camera lens. In this episode, there’s more of that nonsense, plus binocular POV shots and a jump gag from Maggie’s POV shot like it was meant to be in a 3D film, not on standard cable television. We’re talking one of those monster in your face, then suddenly a knife through their head almost into the POV character, moments. They even turned the walker with the knife to give that slow dimensional pull back. Why the hell would they put in a shot which, aside from a cheap scare, doesn’t fully translate to a standard definition viewing experience? It seems like they’re toying with an idea for something down the road—maybe 3D versions on Blu-ray for season 6—and we’re catching glimpses of the man behind the curtain. It’s not my bag. None of it. 3D hurts my head. Watching them refine the process for the show’s home release is like watching water boil around food I’m allergic to.
Whoops! Watch out! Man, that was close. An episode spoiler nearly got you. They wait below.
Honestly? They could’ve skipped to the last two minutes of this episode. The whole ordeal with Carol and Maggie held captive in the meat processing plant is here to stall for time. Even the characters are stalling in the episode where they stall so they don’t blow the Negan reveal with anything considered speed or fan service. Fans have asked for Negan by name and loudly since TERMINUS was teased. Producers used it to their advantage, thinking if they keep trolling out line after setting their Negan-shaped lure, fans will gladly stay put and watch the shiny thing. Fish get bored. People get bored just as quick. They should’ve snatched that line tight ages ago and reeled everyone in for what I’m sure will be a stellar performance at least from Jeffrey Dean Morgan. Keeping us in the lurch doesn’t mean we’re eager to see what they’re withholding. It means by the time we get to Negan, who cares? There’s only so much self-inflated hype about a character people will tolerate. How many times have we all seen headlines promising a gruesome finale and Negan’s mug on our screen? Personally, if I had a dollar for each, I could afford to do makeup on my own army of undead and produce a short movie.
The plot is straight-forward: The Saviors refuse to trade Maggie and Carol for their guy Primo right away. The ladies, their three women captors, and one injured man, head to the slaughterhouse the Saviors use as a safe house. Carol plays meek. Maggie is outed as being pregnant and questioned, which leads to a lot of nothing revealed on either side. Paula, the woman taking charge, picks on Carol for being weak, does the same to Maggie for having the gall to breed given the apocalypse and all. Paula pretty much is an avatar for Strong Woman Who Needs No Man. That’s all you need to know about her. Molly is a dying smoker. I don’t know if the other woman ever gets a name. Donny bleeds out from the wound Carol gave him before they were captured after being KOed by Paula for attacking their captives to get revenge. Eventually they kill enough time to jam in a bunch of killing after the last commercial break. Carol is left alone when the Saviors, minus Donny, gear up for the trade they will turn into an ambush with their incoming backup. She gets free, using a random rosary which just happens to fall out of a walker’s pocket. Carol frees Maggie. They argue, again, about whether or not they should finish the plan or run. Carol wants to run. She’s done risking Maggie’s life. Maggie is bloodthirsty and irrational—they’ll blame her pregnancy for the a-typical character behavior, no doubt. In the end, they kill their captors, lure the backup to the slaughterhouse, and burn them. The ladies save themselves, but the menfolk and other backup are right at the door as they exit. Because in a boring as hell episode, we’ll make it all about women’s empowerment and not plot progression.
“But that whole ‘We are all Negan’ thing! It’s important!”
You’re a sheep. We know there’s A Negan. We know he’s probably not coming until the finale. Going from experience with this show, either the episode will be so much Negan, we grow tired quick or he’ll be a thirty second tease at the episode’s climactic cliffhanger ending. The Savior’s dialog is meant to be a red herring for the characters. Not us. Not in the day and age where social media ensures we know everything coming up for shows and movies. Even people who avoid as many teasers and trailers as possible are still overwhelmed with this information. There are few surprises in entertainment anymore. Negan is perhaps the worst kept considering how often people drag out interviews with the show’s actors relaying the harrowing days on set filming the finale. I’m not buying it. I can’t. They’ve talked a big game a lot lately, but cannot deliver anything nearly as solid as the prison attack story line. It’s just fluff. No substance.
I’m not sure one can write spoilers for an episode so utterly predictable, the only parts which surprised me were the few glistening moments where we saw some actual character development. Nevertheless, that’s why we’re here, to pick apart the show, find more tidbits to feed our need for decent entertainment. So many fans lay their hope for TWD’s future on the Negan storyline. This is it, the chance for the show to realign with the chaos within the comics. Producers have promised fans they’d get what they want from this whole thing. If a nap was their ultimate goal, they succeeded.
(Watch out! Spoilers lurk below!)
Maybe that’s not entirely fair. There are stellar moments in the fight at the end which made the skin on my neck tense. But, honestly, maybe five minutes of quality writing are buried deep in cliché dialog, phoned-in emotions, and Rick being Rick. Some of my favorite scenes are with Glenn and Heath.
The original survivor, Glenn, is not keen to kill again. Heath hyped himself up the moment he heard Rick’s plan at the town hall meeting—exactly the reaction their leader wanted from his little pep talk spouting how they need to “get them before they get us.” It became Glenn’s job to talk sense into the young man. A position Glenn found himself in a lot during season one. Remember the car with the alarm? Yeah, a great impulse idea, but the aftermath cost many lives and their camp. Heath may think it’s the right thing to go into the raid ready to kill, but how would he feel the day after? How about a week down the road when he remembers the way his knife wouldn’t quite go into the skull right? Killing haunts the survivors who’ve been in the wild for long. Glenn’s fault is he wants to spare Heath, retain the young man’s innocence. When it comes time for them to do some of the most intimate killing scenes on the show—attacking Saviors in their bed and dispatching them with a single knife thrust trough the eye socket—Glenn takes the kill guilt upon himself. Being no coward, Heath still gets a few kills to notch on his belt when he and Glenn hold the line to guard the enemy’s armory. But even though his kills weren’t up close and personal, Heath still flees in the morning, more than ready to go on the two-week trip with Tara for supplies.
Where Glenn grows as a character, Carol is undermined at every turn. On top of her unfounded refusal to trust Morgan—up until they created a reason with him holding the Wolf in the cell—they’re now making her the “bad boy” to ease fans into the reality of Negan’s notorious potty mouth, plus reintroducing tobacco products to the show since Daryl’s smoking has petered off. In stark contrast, she’s been acting like the town’s mother, something Tobin calls her out on during a random romantic encounter after sunset. During a day full of doubts, concerns, and knowing death is near again, Carol gathered friggen acorns to make cookies for everyone. Even Sam. It’s been a while since the show side-swiped me with emotions, but I teared up seeing the lone cookie on his grave. Then I got angry—Sam gets more care after his death than before.
Carol’s mom-ness spreads to Maggie’s welfare after the pregnant woman insists she go on the raid. Glenn gave up that fight before it started. Rick is told rather bluntly what Carol thinks, but she never spells out why Maggie shouldn’t be there. It’s more of the same when Carol and Maggie, who were left to guard the perimeter and RV, hear the alarm triggered by a Savior—Sasha kills him, but not in time—and rush to help. Carol stops in her tracks, refusing to let Maggie move. Her hesitation because Maggie will also become a mother is why the episode ended in such a convenient manner. Carol, of all the fighters they have, should understand why Maggie is at the raid. Maggie laid out the terms for Gregory. She dug this hole for Alexandria, now either she helps fill it in or it becomes their graves. In Maggie’s shoes, would Carol honestly sit at home baking? Not this Carol. Even weeks out from her last kill, this Carol wouldn’t let others take full responsibility for something she set in motion.
Short note: Abraham is an a-hole. Rosita should shoot him in the foot.
The raid itself is pretty straight-forward. The group sends Eddy to offer Gregory’s head to the Saviors. Don’t fret, it’s a walker they disguised to resemble the injured Hilltop leader. The guards take too long to examine the head, not in terms of creating tension, but it just felt like, “Oh, they’re going to be d-bags and make Eddy sweat.” After one guard fetches the kidnapped Hilltop member, the gang dispatches both guards without a sound. The Hilltop people retreat to a standby vehicle with Jesus, Tara, and Gabriel. Rick, Michonne, Abraham, Sasha, Glenn, Heath, Rosita, and Daryl enter the compound. They pair up, searching each room they pass. If the room is occupied, they kill the Savior inside. If the door is locked, they pry it open. Why the random searching? They know nothing about they layout, only a vague idea of where the armory is and the location for the pantry. The locked rooms turn up a supply closet, a marijuana growing operation, and the armory Glenn and Heath defended.
Things run smoothly until Sasha and Abraham are caught breaking into a room. After the alarm is pulled, the gang mows through the stragglers—who aren’t unarmed, but have aim like Stormtroopers. Jesus, Tara, and Gabriel join the fight. Jesus saves Glenn and Heath from the lone survivor outside the armory. The other Hilltop men take the car and head toward home. Gabriel shows his backbone, praying for a Savior before putting a bullet in his head.
At sunrise, everyone from Alexandria and Hilltop are still alive. Heath scouts the Saviors’ cars and picks one to take on the trip. He and Tara roll out without much fanfare. Michonne wants to know which dead guy is Negan. None of them, duh? Plus, not everyone died. One guy on a motorcycle makes a run for it. He’s shot down. Rick and company surround him, making demands. A woman’s voice over the radio makes her own demands. When they fail to comply, she informs them that her people have Maggie and Carol.
Of course they do. I knew the second Maggie and Carol were left on the outskirts alone that they’d become a bargaining chip. It’s easier to kidnap the women, despite Carol’s ferocity, than the men on the mission—except maybe Heath. This is how they’ll likely force the face-to-face with Negan. A kidnapping. It’s so uninspired.
This episode is not for the weak-hearted. Matter of fact, I highly regretted filling my coffee mug just one more time before settling in to watch. Twenty minutes into the episode, I paused and took a five-minute break to watch puppy videos. Otherwise my heart would’ve exploded.
Warning! Walking Dead Spoilers ahead, as well as graphic descriptions of violence.
Now, I’m not doing a complete 180* flip on my stance on the show using easy outs. There were simply too many deaths in this episode which in the end tied up a loose thread in the plot. Sure, they were somewhat spectacular deaths, but that then comes down to a simple A-B reasoning for offing the character. A, the character over complicates the plot—yet Father Gabriel, who has done nothing but get people killed, remains safe; heck, he’s mentally recovering from his sins far better than anyone left alive on the show. The B reason for these producer-targeted deaths then shifts to making them so astounding visually, fans will confuse a visceral reaction to the death with a genuine connection to the woefully two-dimensional character.
There’s no ride with these people. No thrills, lulls, love, empathy to make them matter. They’re cannon fodder tossed on the field to make the generals look like they have the numbers to win the battle. Sad thing is, they’re right. The producers gave us cannon fodder and we, the coveted item in the television ratings war, bought into their bluff. “We can change,” they promise. “It’ll be just like the comic books.”
Apparently that translates to adult language, mass slaughter of plot-hampering B-list characters, and the icky kind of tension. The tension a woman gets walking in the dark by herself and heavy boot steps follow half a breath behind her. It’s the wrong tone for where I think they want to take the show heading into the season finale. You can’t run head-first into the terror about to come. This was their toe-dip to warn us. Hopefully this unwanted tension tone shifts. I mean, the primary perpetrator was blown to about six-billion pieces. By Daryl, no less. With an assist from the time-wasting and convenient rocket launcher.
The walker footage for this episode is beautiful. If there’s one thing Nicotero does well in his episodes, you see the FX love up front and center. Good thing, too. Most of the Rick-centric scenes happened mid-herd. The few times there aren’t walkers in-frame, we’re lead to believe they somehow found a corner within the tiny community to hide where one of five thousand walkers couldn’t find them. These moments are when Rick passes Judith, his last tie to his deceased wife aside from his son, to Gabriel. The Father will shelter her in the church until Rick and the others draw the walkers away with the cars they left at the quarry. Jessie tells Sam to go with them. He refuses, stating he can make it.
You know where this is going, right? They’ve intentionally mishandled Sam’s PTSD, hauling us by the nose to the moment when his mental disorder takes the forefront, driving back rational thought and costing the boy his life. Jessie, frozen by grief, is swarmed and eaten, as well. Sorry, Rick. But, wait, why aren’t you moving, Rick? He hesitates just long enough for the walkers to almost get Carl, who can’t move because Jessie has him gripped tight in her death throes. There’s a weird fascination with cutting off hands in genre pieces. Jessie loses hers to save Carl. Father and son recover just in time for Ron to be a moron. Grief-numbed Ron rightly blames Rick for his family’s death. In the following struggle, Michonne impales Ron and Ron accidentally shoots Carl in the eye.
Well, heck. By this point we’ll assume literally everyone is on the chopping block this season. Which is exactly how we’re supposed to feel. They want us so concerned for everyone, it means they don’t have to rely on character growth to keep us on their emotional journey. The only two who knocked it out of the park growth wise this episode are Denise—kidnapped by the lone Wolf until he saves her as they attempt to escape Alexandria, taking a bite in the process—and Eugene, who finally joins the fight without reservations. Characters like Aaron and Heath are only on screen as proof of life and extra bodies in the epic fight montage at the episode’s climax
After Carl is shot, things move quickly. Denise jumps to action, having slipped the Wolf when Carol killed him, but not before Denise had promised to save his life. Michonne helps Denis stabilize Carl. Rick, without saying a word to anyone, grabs a machete and heads outside to, well, collect some heads. He becomes a zombie mowing machine. After some debate, others join him, even Michonne after ensuring Denise had things in hand.
While they fight, Glenn and Enid hatch a plan to save Maggie from the rickety guard platform. The plan is beyond dumb. Glenn will stand at ground level and shoot walkers. Enid climbs the platform. Maggie freaks out, refuses to climb down the wall with the improvised rope, and uses her last bullet. Right at the last second, Abraham and Sasha magically mount the wall and mow down the walkers, all without injuring Glenn. Daryl waits in the truck and Glenn joins him. What will they do? Daryl has a plan. This may be a first, to be honest.
Flaming zombie pond! That’s Daryl’s big plan. Honestly, it’s effective. The nearby walkers shamble into the flaming pond without reservation. When the herd shifts direction, Rick and company mow them down. Though I don’t one-hundred percent believe all the walkers would simply ignore yelling, grunting, sweating live bodies in favor of one big fireball. They win the battle, though. There’s no more casualties. Even Father Gabriel got in on the action before it ended. Okay, so three characters had some emotional growth.
The episode ends with what’s supposed to be a touching monologue with Rick at Carl’s bedside. The kid is alive, but unconscious and honestly doesn’t look too good with a third of his face bandaged. Where this scene went wrong is language choice. Rick doesn’t go into his feelings for his possibly dying son, oh no. Instead he crows over being able to unite the townsfolk for this oh-so important cause. He then goes on to talk about making the town bigger, badder. There’s the hint of emotion, but Rick never gives it a proper label, just that he hasn’t felt it since before he awoke from the coma. The scene has no punch until Rick begs Carl to let him show him the new world. Our hope for Carl is in a single moment, his fingers closing around Rick’s hand.
Obviously, we’re not done with Negan despite blowing up a chuck of his goon squad. How soon he’ll arrive at the gate is a variable no one in Alexandria can account for with any surety. They’re knocking on war’s door while licking their wounds again. Will this too-similar setup have similar endings to Woodbury and the prison? *shakes Magic 8 Ball* Most likely
I’ll save you some time. Here’s the big whopping plot in one sentence: They prepare to leave town.
Duh? There’s no way to reclaim Alexandria until the herd calms down. The choices are limited; either they settle in for a long wait or they leave Alexandria and come back to clear the walkers with replenished resources. Why the writers needed forty minutes to make this happen boggles the mind. Viewers already knew what needed to happen for the characters to live to see the second half of the season. Why waste thirty-five minutes of screen time drawing out the inevitable?
Not only is this episode a gigantic waste of time, they also kill off someone vital to the show’s continuing plot. Deanna is yet another victim of the convenient death scheme. Something we all saw coming each time she got closer and closer to realizing Rick isn’t the man she should leave in charge of her people. Her people. Not his. Rick cannot and will not see the Alexandria natives as part of his crew. Something he’s called out on in the episode during a deathbed conversation with Deanna—who is only dying because she saved his life. Six seasons of them killing off Rick’s naysayers and I’m to the point where I’d rather see the man himself written off the show than someone who simply questioned why he’s such a poor leader. It’s boring. Predictable. A surefire way to turn fans completely against the character when we should still root for him, questionable morals and all. I wouldn’t loathe Rick as he’s written for the show nearly as much if the writers would just stop killing anyone who stands up to him for the sake of their own moral code.
Women get dealt poor hands on this show all the time. Carol is still plagued by this unreasonable story line pitting her against Morgan. Not only that, she also suffers a random concussion which makes her physically inferior to Morgan. If the writers hadn’t made her trip and fall for no other reason than to give her the concussion, the fight would’ve gone in Carol’s favor. They realized too late that pitting the two against each other was a mistake. Both are essential characters. If they didn’t cripple Carol, Morgan—who is now the conscious for the show since they’ve laden Glenn with Baby Daddy Syndrome—would be dead alongside Dale and Hershel, the other poor unfortunate souls to carry the title of Captain Moral Integrity. So instead of a fair fight, we get a one-sided, poorly motivated fight which ends with Carol cold-cocked by Morgan, Morgan knocked out by the prisoner, and poor Denise used as a meatshield so the prisoner can escape past Tara, Rosita, and Eugene.
Then there’s Michonne. Most of Deanna’s deathbed moments were spent highlighting the fact that the writer’s haven’t given Michonne a reason to fight for Alexandria, its people, or even Rick’s people. Aside from being present to wield a sword, Michonne has no motivation. No purpose outside killing. It shouldn’t take this long for them to realize they’ve forgotten to write essential human needs into a main character.
Everyone in Alexandria is hiding. Or so we assume. At no point are Deanna’s people accounted for. The only townsfolk we see outside of Rick’s main group are the one’s shoehorned into the plot. Denise is present to give the prisoner a way to freedom. Jessie is present because Rick wants to do bedroom things with her and she has his daughter in her house. She’s also the mother to two boys capable of screwing everything up with very little effort—because it’s easier for the show to place blame on the impulsive actions of children instead of writing feasibly flawed adults. Ron’s big moment comes when he locks Carl in the garage and tries to kill him, drawing attention from nearby walkers who then overrun the house. Sam’s part in everything is, well, not very well thought out.
One surefire way to grind my gears is to mishandle mental diseases in a show. Sam has PTSD. The entire Morgan episode was to essentially demonstrate how the show would depict PTSD in characters from here on out. Cool. We’re talking about an actual issue which plagues thousands of people. And then they mess up. Jessie says the words no PTSD influcted person should hear, “Just pretend . . . .” No. Don’t. Stop. All they did is hand a child’s character the exact opposite coping mechanism from what he should be using. Escapism isn’t the cure to PTSD. It’s a death sentence. If the writers really wanted to explore the nuances of PTSD and how it affects the survivors, they should have put more time into Sam’s scenes. Instead, like so much in this episode, they cram it in and use it as a catalyst for more things which don’t make sense. Why would a frightened child, even with PTSD, speak when surrounded by things he knows want to kill them? Sam is mentally ill, not a moron.
The big whopping plan to escape is a callback to season one’s “Guts,” where Glenn and Rick covered themselves in walker goo and went to fetch a truck in order to escape Atlanta. Yawn. We’ve seen this before. It’s not even amusing to watch Father Gabriel’s reaction. Gabriel is another character wedged into the plot, but I’m not even sure why at this point. Everything out of his mouth is something which should be shown on screen, not told via dialog.
We get a couple short scenes with Glenn and Enid. Neither of which are vital to the plot. Maggie is likewise a throwaway bit in the episode—she crawls up a ladder to escape the herd and that’s where she stays through the episode’s end.
Then there’s the big post-credit scene. Yet more wasted time and money. Fans know Negan is coming. Matter of fact, if the episode with Daryl’s abduction had been written better, they wouldn’t have needed the post-credit scene to properly introduce Negan’s good squad. Instead they create a reason to put Daryl on screen in the guise of bringing Negan’s crew onto the stage for the second half of the season.
I’m fed up with the current showrunner. He’s run what was once decent television into the ground by leading fans by the nose to the story conclusions he thinks are entertaining. It’s dull. Trite. Nothing exciting happens for eight episodes. Why is AMC wasting money to make this guy’s vision come to life? Their numbers are down, despite self-created hype. Sure, the mid-season finale did a little better, but the viewer numbers aren’t enough to make up for what they lost from episodes 602 through 607. When TWD comes back on February 14th, will we suffer through more of the same? I hope not.
There’s too much talent in this cast to continue with poor storytelling. Something’s gotta give, AMC. Give your fans and your actors the showrunner they deserve, not the one who tells you pretty lies but cannot deliver the quality episodes you want.