Category Archives: The Walking Dead

The Walking Dead Gets Half as Much after Going “Twice as Far” in a Weaker Episode


How can an episode where so much happens seem so dull? “Twice as Far” features a firefight, a significant casualty, a big decision from a major character, and a reckoning between two people who’ve had unfinished business for a long time now. This is all major stuff. So why did the episode feel so thoroughly lifeless?

In fairness, “Twice as Far” aimed for a certain feeling of routine in the proceedings. It opens with a repeated sequence of supply inventory, guard shifts, and the daily rhythms of Alexandria in order to establish the semi-normalcy that the town has settled into after the most recent bit of excitement. The Walking Dead has thrived on this type of “calm after the storm” vibe in episodes like “The Next World”, but here it felt ponderous and contrived.

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The Walking Dead: “The Same Boat” — Carol Peletier, This Is Your Life!


One of the best parts of Carol’s arc on The Walking Dead is that it’s largely been underplayed. Melissa McBride is such a talented actress that the show can dispense with its often lumpy dialogue and simply let her performance convey the meaning in the moment, whether it’s a sullen look after the events of “JSS” or a harsh tone in her voice when she tells Rick that Maggie shouldn’t be out on the raid in “Not Tomorrow Yet”. This season in particular, The Walking Dead has done well to let the idea that Carol is feeling the weight of her actions and gradually pivoting away from her more ruthless persona, bubble under the surface. That’s made the scenes where those ideas are brought to the fore or dramatized in a more prominent fashion, stand out as effective and earned.

But “The Same Boat” basically turns that subtlety on its ear. It’s a bleak bottle episode that spends most of its time keeping Carol locked in a single room while trotting out an odd version of This Is Your Life!

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The Walking Dead: the Pain of a Righteous Kill in “Not Tomorrow Yet”


There has been a great deal of death on The Walking Dead over the years. We’ve seen characters take out hordes of zombies, roving marauders, and even their own as a necessary if-bloody kindness when circumstances require it. But very very rarely has the series shown our heroes as the aggressors in a life-or-death situation.

That’s what made “Not Tomorrow Yet” so interesting and so novel, especially for a series already in its sixth season. Many episodes of the show have examined the morality of killing — when it’s justified, when it’s morally dubious, and how those standards change in the ashes of the world. But it’s never shown “the good guys” engaging in what amounts to a preemptive strike before.

It is, in a word, troubling, even when on paper it makes sense. It’s uncomfortable, even when the audience, by dint of affection and perspective, is on the side of the people doing the killing. It’s meant to be. The Walking Dead has paid lip service to the moral gray areas that emerge when having to decide whether to take a life in something approaching a state of nature, but rarely has it confronted these ideas as directly as it does here.

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The Walking Dead: a Glimpse of the New World in “Knots Untie”


In the ancient past that is the year 2008, an ambitious (and ultimately disappointing) game, entitled Spore, was released. Nicknamed “SimEverything,” the game was meant to depict the progress of life and civilization across millennia, beginning with single-celled organisms and ending with spacefaring intergalactic communities. Part of Spore’s premise involved splitting the game up into stages based on that progression, starting with ones that let your characters evolve individually and then eventually advancing to others where they would form collectives that traded and went to war with neighboring tribes.

As The Walking Dead moves toward a new stage of world building in “Knots Untie”, I like the idea of the series taking a similar path. For several seasons, we’ve seen the core group of survivors grow and change with their needs changing accordingly. In the beginning, TWD was about Rick surviving on his own and finding his family. Eventually, with the number of survivors swelling after the events of Herschel’s farm and beyond, it became about that group and finding safety and security for more people. This idea was reinforced at the prison, a setting that continued the theme of trying to find a place that offered at least temporary safety, and then struggling to protect it from both the dead and the living.

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The Walking Dead and the Stillness and Joy of “The Next World”


How rare is it to see people on The Walking Dead actually happy? Sure, the show gives its band of survivors the occasional moments of triumph or brief bits of levity, but how long do we ever really get to see the atmosphere around Rick and Daryl and Carl and Michonne be simple and pleasant?

It’s not often, and there’s a reason for that. Happiness and stability are nice for a while; it’s comforting for the audience to see the characters they’ve gotten to know over the years catch a break here and there. And yet too much happiness or too much stability over the long term becomes boring. Storytelling is fueled by conflict. As shows like Parks and Recreation have proven, that conflict doesn’t necessarily have to be dark or dour, but a good show needs real, meaningful obstacles for its characters to hurdle over or the entire enterprise eventually feels too slack to be truly engaging.

But it’s been such a harrowing season for The Walking Dead, and beyond that, a harrowing series from the very start, that it was incredibly refreshing to have an episode like “The Next World” where, more or less, everything was okay. After the gruesome deaths, fireworks, and bombast of “No Way Out”, this was a quieter episode that let its heroes enjoy their victory for a little while before the next great challenge (Negan?) rears its ugly head.

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Community and Humanity in The Walking Dead‘s “No Way Out”


There were two big themes that emerged in “No Way Out”, and they’re themes that have been with The Walking Dead almost since the beginning: the concept of community and the idea that this post-apocalyptic world can change an individual in profound ways. The episode was certainly a bit overly didactic about these points at times, but for once, it allowed them to dovetail together with a surprising harmony.

The community element of the episode has been telegraphed from at least the beginning of this season, if not long before. Rick has spent so much time decrying the preparedness of the Alexandrians, declaring that they are children of the summer, and drawing a dividing line between them and his own people, that you just knew he was going to turn around and accept them with open arms sooner or later. It was inevitable that some event was going to take place, Rick was going to see that these people had potential, and then eventually, he would embrace them. It’s not even the first time we’ve seen this type of arc with Rick.

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What Makes Zombies So Frightening?

 

The easy is answer is pretty straightforward — because they’re walking corpses who feast on human flesh. But there’s more to it than that. Movie monsters come and go. Some are corny, some are genuinely frightening, but most are fairly transient in the popular imagination. And yet zombies have been strangely and ironically durable. There’s something about the idea of the undead, something that makes zombies both unnerving and compelling, that has made them an indelible part of American horror cinema.

The Second Breakfast Podcast (from the inestimable Andy Roth and Phil DeVaul) discussed this topic in their most recent podcast. I encourage you all to watch it in its entirety:

 

[youtube=”http://www.youtube.com/watch?v=Z_IKEfizfX4″]

 

The Second Breakfast guys raise a number of good points about what makes zombies frightening: First, the undead multiply very quickly. Zombie movies play on our fears about a devastating outbreak and an inability to contain a quickly-spreading contagion. Part of the terror comes from the idea that the outbreak is so sudden, and so foreign, that by the time anyone realizes what’s happening, it’s already too late.

Second, you cannot outlast zombies. They’re a continually lurching horror, one that cannot be simply ignored or waited out. This longevity adds to the looming sense of dread in every zombie film. The survivors in a zombie film are not simply waiting for the storm to pass so things can return to normal. They’re trying to figure out what kind of life they can have in a world where they’re under a constant, mortal threat.

Third, they’re your friends and neighbors. There’s something inherently unsettling about having to kill something that, whatever its level of decay and depravity, still appears human. As Andy Roth describes in the above video, zombie movies often feature characters having to kill one of their close friends or family members who’ve turned. There’s an added level of horror to the idea of having to slay a monster who still looks like someone you love, and it makes the undead unique among cinematic monsters.

But I think there’s something else, something more elemental, that makes zombies not only frightening but also compelling as monsters.

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Walking Dead Humor

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Based on the episode “Pretty Much Dead Already” from Season 2 of The Walking Dead.

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