Rick Grimes – Page 5 – Simon’s Incoherent Blog

The Walking Dead: Season 3, Episode 7 – When the Dead Come Knocking

“For all we know, your brother’s out there searching for them now. Blood is blood, right? Makes me wonder where your loyalties lie.”

Another thrilling missive from the post-zombie apocalypse world this week, as The Walking Dead continues to be compulsive viewing. This episode had the feel of an endgame, moving the pieces into place for next week’s big mid-season break, but managed to be just as exciting and creepy as ever. Along the way, there was the requisite amount of gore, death and betrayal, as the Woodbury community and the prison gang dealt with the newcomers in their midst.

As I’d expected, Glenn and Maggie did not have a nice time at the tender mercies of their Woodbury interrogations. Locked into a windowless room, Glenn had to deal with a brutal beating from Merle, whose final gambit was to unleash a ravenous Walker in with him. Steven Yeun got to be brilliantly hardass as he had to fight it off with his arms duct taped to a chair – which saved him from a nasty bite – before smashing the chair to bits and ramming its fragments through the corpse’s head. It was another demonstration of how the characters have hardened over the months since the last season, and a thrilling sequence to watch. Given the show’s high body count of late, the suspense over whether Glenn would make it felt very real.

But he didn’t give away his gang’s location, so it was up to the Governor himself to have another try, this time with Maggie. And boy, was that worse. Aptly described by Michonne as a “Jim Jones type”, his interrogation of Maggie was, if anything, nastier than Merle’s straightforward brutality. He started off trying the smooth, seductive technique that worked so well on the gullible Andrea, but when it became clear that wasn’t working, went straight to the sexual humiliation, forcing Maggie to strip before shoving her down and (presumably) raping her. It was probably the nastiest thing we’ve seen him do yet, and it was notable that not even this show actually depicted it happening. Blood and guts might be fine, but some things, it seems, are just too uncomfortable even for a cable network to show.

Given that not even this could persuade Maggie to spill her guts, the Governor ended up taking what would have been the logical approach to try first – threatening to shoot one of them if the other wouldn’t answer the question. But it was a nice subversion of the expected trope that it was Glenn who was threatened and Maggie who had to answer. Which, finally, she did.

So now the Governor knows about the prison, and seems incredulous that such a small group could have cleared the place of Walkers. And there’s a hint that he was interested in it himself – for what, I wonder? Mention was again made of “the red zone”, which has yet to be fully explained, but I’m guessing it just means “area with a lot of Walkers in it”.

He’s interested in Walkers, the Governor. This week we got some enlargement on that, after the recent hints about Milton’s experiments, as we got to see his “scientific method” in action. Ably assisted by the glamorous Andrea, he was conditioning a dying old man to respond to repeated stimuli, in the hope that his revived corpse might have some memory of its former identity.

Andrea did try telling him that this wasn’t going to work, though for some reason she failed to mention that she’d seen some far more detailed research on the subject at the Atlanta CDC. But their conversation as they waited for the old man to turn gave us some revealing background on Milton – only child, parents already dead when civilisation fell, worked from home and had no friends. The perfect background, basically, for a sociopath, however mild-mannered he may seem, with no empathy for his fellow survivors.

Speaking of sociopaths, this pointed ever more obviously to one of the Governor’s larger motivations, made more explicit here than in the comic. He’s plainly hoping to somehow ‘bring back’ his undead daughter; I wonder how many in Woodbury know that he’s keeping her walking corpse locked up in his rooms?

Over at the prison, there was much debate about the recently arrived Michonne – once they’d made the decision to actually let her in. Michonne, for her part, was surprisingly trusting of another group she’d just met, considering her nous in immediate suspicion of Woodbury. Yes, she was a bit hostile – that’s basically her character – but she didn’t immediately wonder what Dark Secret Rick and the gang were keeping. Yes, we know they’re good guys, but it seemed a tad unlikely for Michonne, without the information we have, to be so trusting.

I also found myself constantly anticipating when/if she was going to let slip that ‘the enemy’ over in Woodbury included their old friends Andrea and Merle. She must be aware that this is the group they were both previously with, from the conversations we’ve seen them all having – is she keeping the information back for some reason of her own?

At least Rick was a bit suspicious; but trusting enough that soon he, Daryl and Oscar were accompanying Michonne on a trek to Woodbury to retrieve Maggie and Glenn. The trip took a peculiar sidestep when they found themselves surrounded by Walkers and took refuge in a nearby shack, which turned out to be occupied by a reclusive fellow survivor. Since he was making enough noise to wake the dead (or at least, attract them), Michonne took the lead in despatching him with a quick swordthrust.

I was again surprised at the level of trust Rick extended to somebody he’d only just met, in allowing her to keep a deadly sharp sword. But the scene showed again Michonne’s level of ruthless pragmatism, a level it seems Rick has yet to achieve. While he, Daryl and Oscar dithered over dealing with the shouting hermit, it was she who took the lead in, basically, rejecting the now useless morality left over from before the apocalypse.

It also provided a handy escape route – and this week’s gore highlight – as the gang used the fresh corpse as a tasty snack to distract the Walkers, making a sneaky getaway via the back door. The gruesome gut-ripping, courtesy as ever of KNB Effects, was definitely up there with the greats of zombie classics like Day of the Dead.

The episode climaxed with Rick, Michonne, Daryl and Oscar hanging furtively around just outside the Woodbury wall, while behind it Andrea lurked unseen. The stakes have been made clear. Andrea doesn’t (yet) know that Merle has found the remnants of her former group, while they don’t know that she – and Merle – are within the walls. Merle doesn’t know – yet – that his beloved little brother is about to break into his stronghold. And I’m betting, that with the mid-season break after next week, we’re going to see a bit of a confrontation between the two groups’ diametrically opposed leaders.

Will Rick and the Governor annihilate each other by existing in the same space? Where will the loyalties lie of all the former allies and relatives, now on opposite sides? Like all the best zombie movies, The Walking Dead this year has come up with a group of human antangonists as the true villains, since the Walkers themselves can have no motivation and exist as a basic hazard of the post-apocalyptic world. Last year, for a human villain, we only had Shane – yes, a powerhouse performance from Jon Bernthal, but characteristic of the soap opera approach the show took that year as Shane was motivated by jealousy, obsession and lust. This year, the Governor and the Woodbury group are arguably nastier, with their greed, lust for power and honest-to-goodness insanity.

With what it seems we are now obliged to call the “mid-season finale” next week, the pieces are in place for a high stakes cliffhanger ending. The tension ratcheted up by Bear McCreary’s pulsating, pounding score (incidental music is a rarity in this show) has wound up the suspense to fever pitch. Since we know a lot of the stakes already, there’s likely to be less of an unexpected shock than last year’s mid season stunner of the undead Sophia’s reappearance – unless the showrunners have something to pull out of the hat in addition to the drama we already know about. Whichever, it looks like we’re in for quite a ride next week.

The Walking Dead: Season 3, Episode 4–Killer Within

“It’s so easy to do the wrong thing in this world.”

Wow.

After three damned good episodes in a row, I’ve been half expecting this much improved Walking Dead to stumble, with a stagey, talky episode like so many last year. I kind of thought this would be the one, with the gang safely ensconced in their new home and the unease about Woodbury still just a background murmur. Instead, this week’s episode served up one of the most unbearably tense, dramatic and emotional hours of television I’ve seen for a long time. Along the way, so many major characters were put in separate situations of jeopardy it was almost impossible to keep track, and by the jaw-dropping, tear-inducing end, we’d unexpectedly seen two of them bite the dust.

Sang Kyu Kim’s expertly structured script started slowly enough, intercutting tense scenes in Woodbury with the relative calm of Rick’s gang at the prison, where the clear up of the felled walkers was continuing apace. But in the precredit sequence, we’d already seen a mysterious figure (presumably the one watching Carol from the woods a couple of weeks ago) unchaining the exercise yard’s penned zombies and setting them a trail of disembowelled deer chunks. Plainly things were going to go wrong for Rick’s group. But I couldn’t have foreseen how frenetically wrong they would go as the episode ratcheted up the tension.

As the gang began their clearup, the mood was jocular; Maggie and Glenn had been off shagging in the guard tower again, prompting guffaws of mirth as a smirking Daryl enquired “You comin’?” Hershel was taking his first stumbling steps on crutches, and things looked good. A slight tension was introduced with the reappearance of convicts Axel and Oscar, who said they couldn’t live in the cell block full of their friends’ corpses and begged to join Rick and the gang.

Some toing and froing about this ensued, with T-Dog surprisingly taking the “group conscience” role left vacant by Dale. But to no avail – Daryl and the new, pragmatic Rick both had experience of these kinds of guys, and neither was prepared to take the risk. So they were penned between the outer fences pending release into the outside world, and things looked stable again. Which was when a horde of walkers showed up, and everything went to hell all at once.

In the chaos, the group were split up into at least four separate parties. Rick, Daryl, and Glenn were rushing to undo the multifarious locks that would get them back through the fences to their friends. Hershel and Beth managed to shut themselves up at the top of a stairwell. Maggie, Lori and Carl dashed for the opposite door leading into the depths of the prison. And Carol was dragged inside too by T-Dog, who in a genuine shock moment had got himself bitten.

In hindsight, I suppose T-Dog’s death was somewhat signposted by the fact that his moral argument with Rick and Daryl gave him seemingly more lines than he’d had in the entirety of the previous season. He’s never been well-used as a character by the writers, which gave him the unfortunate appearance of tokenism as the group’s only non-white character. But for his final episode (too little too late perhaps), he got to step up and be an honest to goodness hero. Having been bitten, it was only a matter of time of course; but even then, he sacrificed what little life he had left to save Carol, literally holding two slavering walkers back so she could escape through a nearby door while they chowed down on him with some really nasty gore.

The stakes just kept ratcheting up as the episode went on. As Rick, Daryl and Glenn reached the yard to put pay to the walkers menacing Beth and Hershel, the prison siren unexpectedly started blaring, basically sounding a dinner bell to any walkers from outside. Then, as a gun-toting Carl led the way through the darkened interior of the prison like the hero of a first person shooter, Lori found the most inconvenient moment possible to go into labour.

Obviously giving birth in a corridor full of zombies wasn’t an option, so Carl led her and Maggie into a nearby machine room conveniently free of walkers. But even then, there was no letup in the tension. We already knew that Lori had had to have Carl by C-section, and would probably have to this time as well. But Hershel and Carol were nowhere nearby. Lori had only Carl and Maggie to help.

And again, things did not go well. Lori wasn’t properly dilated, and the baby couldn’t come out. There was only one option, on which Lori insisted despite the protestations of the tearful Maggie and Carl. They would have to cut her open to get the baby out. And with no anaesthetic, it would kill her.

The death of T-Dog (underused though he was) would have been shock enough for one episode. That the show was prepared to kill off, essentially, its female lead, was a hell of a surprise, and a well-handled one too. Having spent much of the last season whining and setting Rick and Shane at each other’s throats, Lori (through no fault of actor Sarah Wayne Callies) earned more than a share of fans’ ire. But she more than redeemed herself here, with a death scene freighted with emotion.

Stepping up equally well with an amazing performance was Chandler Riggs as Carl. The tearful exchanges of mother and son saying goodbye were almost unbearable to watch. Not to mention the fact that, as Maggie cut deep into Lori’s belly to extract the baby, we couldn’t know if it would survive.

Survive it (she) did, but the ordeal wasn’t over; because Carl had to shoot his mother in the head before she turned. Again, Chandler Riggs’ performance, as he first begged to be spared this then went back into the room to carry out the deed, was nothing short of incredible. The shot happened offscreen, so we might yet see an undead Lori, her guts hanging out, have to be put down properly. But I hope not; to do that would be to undercut the dramatic impact of the scene.

But it was another supposed offscreen death that was to blame for the situation, as Rick and Daryl discovered. Finding the generator running the siren, they also found Andrew, the convict left to die by Rick two weeks ago. Evidently he hadn’t died, and was intent on revenge. The inevitable struggle was less tense than events elsewhere, as it hardly seemed likely that the show would off both its leading roles in the same episode. But it did give Oscar a chance to step up, choosing to shoot his fellow convict rather than side with him against Rick’s group. So the gang has another “token” non-white to replace T-Dog – let’s hope actor Vincent Ward gets a better share of the action.

If all that left you feeling thoroughly wrung out emotionally, it was nothing compared to the final scene as a devastated Carl and Maggie wordlessly handed Rick the baby, and Lori’s fate became clear to him. Andrew Lincoln too gave a gut wrenching performance as the new Ruthless Rick just crumbled, stumbling crying onto the floor. After recent episodes, this had upped the emotional ante by making it clear early on that Rick really did still love his wife. That just made it all the more heartbreaking that she died without them getting to reconcile with each other. And the fate of Carol is still unknown – is she still wandering the innards of the prison, or did the walkers get her?

With all that going on, you’d think it somewhat redundant to keep intercutting such intense action with the slower moving events in Woodbury. Not a bit of it; those scenes functioned as breathers in the action, and also heightened the tension. Each time one of the group in the prison was in mortal jeopardy, the scene cut to the more idyllic setting leaving you gasping with tension.

And those scenes also served to further the narrative of what’s happening in the show’s other setting. Michonne is still highly suspicious of the setup; having found the bullet holes and fresh blood in the newly acquired National Guard vehicles, she sailed perilously close to danger by voicing her suspicions to the Governor himself, who came up with glib but unconvincing excuses.

Andrea, meanwhile, was chatting with the new, mellower Merle, who found common ground with her now that they’d both been ‘abandoned’ by the group. She was also undeniably flirting with the Governor, who revealed his real name to be Philip, as in the comics. And Merle’s newfound eagerness to hunt for his brother led the Governor to comment that he “understood”. Could he have brother issues as well?

David Morrissey and Michael Rooker are well-matched, their scenes together like watching two alpha males head-butting. For the moment, the Governor has the upper hand. But how long will that last against the unpredictable Merle?

This will probably be the pattern of episodes for the foreseeable future, intercutting between the show’s two settings to wring maximum tension out of one, the other or both. This time, the dramatic heart of the episode (and boy, was it dramatic) was at the prison. It was an amazing episode, courtesy of writer Sang Kyu Kim and director Guy Ferland, that has achieved the apparently impossible in continuing to top the previous ones. From last year’s frustratingly stop-start narrative, The Walking Dead has now become one of the most compulsively watchable shows on TV – let’s see if it can carry on with episodes of this kind of quality.

The Walking Dead: Season 3, Episode 2–Sick

“We took out these walkers, this prison is ours.”

Warning – contains spoilers!

Having presumably learned a lesson from last year’s fitful pace, this second episode of The Walking Dead’s third season kept up the level of intense action established last week. There was plenty of gore and, importantly, plenty of zombies; but as in all the best zombie stories, the most dangerous threat wasn’t from the shambling dead, but from the greedy, self-interested living.

Readers of the comics will not have been too surprised at last week’s end-of-episode reveal that some of the prisoners had survived, barricaded into the prison cafeteria for nearly a year. But as usual for the show, it looks like their interactions with the heroes (if you can call them that) are taking a very different path from that in the comics. For a start, in the course of only one episode, most of them have now been killed.

The prisoners’ plight, expecting Rick and co to be a rescue team and not comprehending the scale of what’s happened to the world, was an interesting take on the whole post-apocalypse thing. Imagine if you had managed to wait it out, thought you were being rescued, and found out that the whole of civilisation had fallen.

Even then, they scarcely seemed able to grasp it, which was perfectly credible; wanting to borrow cellphones to call their loved ones rather than panicking. It was only when the group’s de facto leader, the aggressive and hyper-macho Tomas (Nick Gomez) pointed out how bad things would have to be outside for people to break into a prison that the reality seemed to sink in.

Tomas was obviously going to be a problem from the start, with he and Rick squaring off to each other as two alpha males vying for territory – if the show had been in smell-o-vision, you could probably have smelled the testosterone. But Tomas was taking his hard man status a little too seriously; as evidenced at the close of the last season, this is a new Rick, more hardened to Shane’s pragmatic view of needing to do anything in order to survive, and unhampered by moral objections from the group now that Dale is gone.

Fairly early in the episode, he had a cold, matter-of-fact discussion with Lori about whether to just kill the prisoners rather than take any risks, which Lori accepted meekly enough. As it turned out, Rick didn’t even leave it to the last resort. Shane may be dead, but it seems his philosophy lives on in his best friend, who was right to doubt the safety of cohabiting with the prison’s former inmates. That confrontational, “we took it. It’s ours” is virtually a quote from the original Dawn of the Dead, and there, as here, we’re perhaps not meant to sympathise with the man expressing such possessive sentiments. Given the alternative, you see his point; but if Dale had still been around, he might have seen the inmates’ point of view too.

These guys are hardened prisoners, and no clue was given as to why they were incarcerated; it could just as easily have been multiple murder as accounting fraud. The former seemed more likely as evidenced by the ferocity of their attack on the zombies. Completely undisciplined, they went at it violently but stupidly, viciously stabbing at anywhere but the head, contrary to Rick’s instructions. No surprise that, in one of the week’s more inventive gory moments, one of them ended up stabbed in the back by the arm bones of a zombie that had torn off its own hand to escape from a pair of cuffs.

Neither was there much surprise, given what we’d established about him, that Tomas chose to end the debate about trying to save his life by brutally smashing his head to a pulp. It was a surprise, though, quite how much Rick had changed towards Shane’s worldview when presented with Tomas’ sly but unconvincing attempt to kill him by shoving a zombie at him after ‘accidentally’ nearly clouting him with a baseball bat. For a few heart-stopping moments, the two men stared at each other coldly as they’d been doing every couple of minutes since the episode started. Then with nary a change of expression, Rick simply clove Tomas’ head in two with a cleaver. Bet he wasn’t expecting that.

But if viewers were shocked by this display of Rick’s new ruthlessness, it was nothing compared to what happened next. Tomas’ compatriot Andrew (who seemed so upset about Tomas’ death that the implication was they were lovers) made a run for it, with Rick in hot pursuit. And when Andrew stumbled into an exercise yard full of walkers, Rick simply locked him in to be torn apart, listening dispassionately to the screaming.

This is indeed a new Rick, hardening to his situation just as he did in the comics. It makes sense, pragmatically, if he’s to ensure his own survival and that of his group; but it also makes him harder to like as a character. I’m betting that this newfound ruthlessness will be a major plot point in the coming episodes.

It is at least (for now) tempered with a certain sense of fairplay, as he kept to his word in allowing surviving prisoners Oscar and Axel to settle in to the newly cleared adjacent cell block to the gang’s own. This may be a mistake. In the comic, it leads to a very gruesome subplot which looks unlikely in the show as it depends on additional characters not included in the TV scripts. Nonetheless, I can’t see showrunner Glen Mazzara leaving the plot thread of the group’s neighbours simply dangling. Custer-bearded whiner Axel (Lew Temple) seems amenable enough (but is he?), but his compatriot Oscar (Vincent Ward), stubborn enough not to beg for his life with a gun pointed at his head, looks like trouble. Still, my guess is that the show will subvert expectations by showing us that Oscar’s the one who can truly be trusted.

Amid all that action, there was still plenty of time for character moments and development, mostly centring on the rest of the group holding vigil for the unconscious Hershel while Rick, Daryl and T-Dog went off a-hunting. Refreshingly though, the character moments sprang as much from their actions as from sitting around listlessly talking, which seemed to be the main format of season two. Carol, in particular, has become much more self-reliant, partly trained by Hershel in medical techniques. After her mostly passive role in previous seasons, as beaten wife and grieving mother, it was good to see Melissa McBride taking charge here, binding Hershel’s stump and experimenting on a downed walker as practice for Lori’s potential upcoming C-section.

Lori, for her part, seemed to be curbing her tendency to whine at every moment, and even gaining a bit of self-aware humour. And it was she who took charge when Hershel stopped breathing, bravely giving mouth to mouth to a man who might rise from the dead and try to eat her face off. Indeed, it was a genuine shock moment that made me jump when he seemed to lunge for her to do just that; but as it turned out, he was back in the land of the living. This surprised me, as Scott Wilson’s absence from the main cast list, together with daughter Maggie’s heartfelt farewell speech to him, made me fairly certain he was on the way out. The fact that he isn’t is a good example of the show playing with your expectations.

It was a measure of how much better this year’s balance between action and character development seems to be that this week’s cliffhanger centred not on the prisoners, or any threat from the walkers, but on Rick’s ambivalence about his cheating wife, and her eagerness to be forgiven. Rick was at least able to reassure her that she was a good mother, after her earlier shouting match with the increasingly self-reliant Carl; like any good son, Carl seems to be following his dad’s example by hardening his worldview towards ruthlessness in order to survive.

But when it came to talking about where their marriage stood, after some wry discussion on the absence of divorce lawyers after the end of civilisation, the best Rick could offer was “we’re all grateful for what you did”, ie saving Hershel. So much left unspoken and nothing resolved – even amidst the thrills and the gore, it was a quietly powerful moment.

Thus far, I’m loving this new season, which seems to have truly taken the criticisms of last year on board. It’s worth noting that the pace of the previous season flagged as early as halfway through its first episode; here, it’s been breathlessly exciting for two already. Thankfully, though, the writers haven’t tacked to the other side of the balance by giving us nothing but action, gore and zombies; there’s still enough depth and development of character to make these people interesting enough to care about. Because without that, they might as well be the walking dead themselves.

My only disappointment this week was the complete absence of Andrea and Michonne, last seen wandering off towards an unspecified destination. I’m guessing we’ll see a lot more of them next week, as the season’s other major plot thread and location begin to get properly established…

The Walking Dead: Season 2, Episode 12

SPOILER WARNING – I’M GOING TO TRY AND REVIEW THESE EPISODES AS CLOSE AS POSSIBLE TO THE ORIGINAL U.S. TV BROADCAST. IF YOU’RE IN THE U.K., AND PLANNING TO WATCH THE BROADCAST ON FX THE FOLLOWING FRIDAY, BE AWARE THAT MAJOR PLOT POINTS WILL BE DISCUSSED!

Better Angels

With the season end in sight, this week’s Walking Dead suitably ramped up the tension in another gripping episode that seems to demonstrate a show regaining its form. Brilliantly paced, Evan Reilly and Glen Mazzara’s script built from a slow burning character drama to a climax that’s been seemingly waiting in the wings for weeks.

First though, the gang had to mourn Dale after his shock death last week. The show’s cold open nicely intercut Rick’s eulogy at his graveside with an incredibly brutal and graphic zombie hunt. As Rick solemnly intoned that he was going to do things Dale’s way from now on, a close up on Shane showed him looking distinctly unimpressed. The zombie hunt flashed through the ceremony, showing Shane’s preferred method of doing things – brutally, pragmatically and finally. The effects here gave us some top notch gore, as walkers were dispatched in some inventive, non-gunfire ways.

There was some time to take stock, as Rick set about organising the proper fortification of Hershel’s farm – something that they might sensibly have done some time ago. Having resolved to follow Dale’s moral compass, Rick was still set on reviving the plan to release the hapless Randall a long way from the farm, and from his well-armed comrades. He plainly didn’t trust Shane to help him with this, choosing Daryl instead. A sensible choice, but one that Shane saw straight through; as they argued the toss, it was interesting to see Shane as the calm one for once, with Rick acting like an arrogant hothead who knew all the answers. This, surely, was what precipitated the later, tragic events of the story.

First though, Carl confided in Shane that he saw himself as responsible for Dale’s death, by failing to kill the walker he taunted last week. Shane’s advice on this was as pragmatic as ever; it wasn’t Carl’s fault, but he should keep the gun and learn how to protect himself. The grownups wouldn’t always be there to watch out for him. Actually, by the end of this episode I was beginning to wonder whether anyone was keeping an eye on him at all!

Rick having finally taken Shane’s advice on talking to Carl, there was a touching father/son bonding scene, in which Rick almost tenderly outlined the new realities to his son. It was interesting to note that, after having proclaimed he’d do things Dale’s way, the thrust of this was Rick’s firm persuasion that Carl really should be armed. There was much debate after last week’s episode as to whether Dale’s pre-apocalypse, ‘civilised’ approach was the wrong way to go with the way things had become; it looks like Rick has decided that civilisation has to be tempered by the brutal realities of the situation. He continues to develop as a character, much as he does in the comics, and Andrew Lincoln was particularly good this week with some very strong material to work with.

Sarah Wayne Callies got some good stuff too, in a significant scene with Shane in which Lori finally acknowledged her own responsibility for the impossible situation between him and Rick. Lori’s been arguably the most annoying character this year, presumably intentionally; selfish, indecisive and occasionally incompetent at basic self-preservation. Seeing her finally admit some of her own shortcomings was a surprise, and the scene with Shane felt like the beginning of some kind of closure.

In hindsight, a lot of the early part of this episode was indeed building up to closure on Shane. The fuse was lit as he stalked into the barn where Randall was tied up, then began flipping out and smashing himself on the head. After weeks of gradually unravelling, it was plain that he’d finally, completely, lost it, and this made for interestingly tense viewing as I genuinely couldn’t tell which way he was going to jump. As he led Randall through the woods, encouraging him to spill all about his gang, I really believed that Shane might take the step of joining them. So it took me quite by surprise when they disappeared behind a tree and a distinctly nasty, neck-snappingish noise was heard.

And then, as Shane smashed his head against a tree, his plan became clearer – he was faking Randall’s escape. But why? Plainly he was up to no good, but even here it was hard to see what he was hoping to gain.

It all came to a head in one of the tensest scenes the show’s done, as Rick and Shane came to a desolate, moonlit field near the woods. Director Guy Ferland gave the scene some excellent visuals as Rick and Shane stood silhouetted facing each other, the moon high behind them, as if reaching the final showdown in a classic Western. The implication was clear, and Rick, a trained cop after all, figured it out quickly. “So this is where you’re going to do it then?” he asked, knowing that this was Shane’s endgame. “Good a place as any,” Shane replied laconically. The showdown vibe was unmistakeable; that same laid back attitude the antagonists display at the end of every Sergio Leone movie. I fully expected a long, drawn out standoff with increasingly close shots of the actors’ faces interspersed with shots of fingers twitching near triggers.

And what we got, cleverly, was something quite different. Having built up that vibe, the script switched tack as Rick went into classic ‘police negotiator’ mode, trying to persuade Shane that, if he only gave up the gun, all this could be forgotten and they could move on.

This was certainly the ‘Dale-like’ thing to do, and was reminiscent of the more peaceable philosophy of heroes like Jean-Luc Picard or the Doctor. It was also, in light of Shane’s increasing insanity, plainly the absolute wrong thing to do here. This played out for a tense few minutes, until Rick took the step of holding out his gun to Shane. At this point, I was prepared for two outcomes; Rick getting killed (unlikely), or Shane accepting his terms and condemning the viewer to more endless weeks of seething tension between them.

Instead, I was again genuinely surprised that the scriptwriters had the balls for Rick to finally accept what had to be. As Shane reached for the gun, Rick, sobbing, stabbed him through the heart. It was a shocking moment, well-handled by both actors. The look of amazement on Shane’s face as Rick finally bought into his way of doing things was priceless. Mind you, I also wondered whether the whole thing had been engineered by Shane as an elaborate, unhinged way of committing suicide; the scene seemed laced with deliberate ambiguity on this.

Even than, the shocks weren’t over, nor the script’s clever mind games. Carl suddenly popped up, having seen everything (really, does nobody keep an eye on what he’s doing?). And it looked for a moment like he was going to shoot his father. Rick certainly thought so, an indication of how he’s not getting the changes in his son.

But no, as the gunshot rang out, it was the stumbling, now zombified Shane that Carl shot; possibly a clever nod to the comics, in which Carl shot the living Shane much, much earlier. It also served to establish (along with the discovery that the strangled Randall was now a zombie too) something we’d suspected for a few weeks now – you don’t have to be bitten to come back from the dead. This is a potentially interesting development; it means that, if this is caused by some kind of virus, everyone is a carrier, with death waiting to trigger it. I wonder if that’s what Dr Jenner whispered into Rick’s ear at the end of Season One? Still no resolution on that – yet.

As a prelude to the season finale, the episode ended with a swarm of walkers, drawn by all that gunfire, stumbling across the field towards Rick and Carl – and the farm. Clearly, in time-honoured zombie movie tradition, the climax to this season is going to see an invasion of the undead laying siege to our heroes’ refuge. Will they survive? Will they have to move on from the farm? (God, I hope so!) And more importantly, will they have the sense to get guns with silencers?

With the episodes of the last few weeks, The Walking Dead really seems to have got its mojo back after a distinctly patchy, often badly paced season. This was another strong story, and a great sendoff for Shane. Jon Bernthal has been excellent in the role, and will be missed. Zombie stories really need a human villain to work; the zombies are an all-pervading danger, but they’re essentially mindless. For genuine nastiness, you need the living, something George Romero’s movies always remind us of. I gather that another of the comic’s well-known baddies is due to put in an appearance soon to fill the void. First though, our heroes have got what looks like an all out zombie onslaught to contend with. If it can match the quality of the last few episodes, roll on next week…

The Walking Dead: Season 2, Episode 10

18 Miles Out

This week’s close focus on just a few of The Walking Dead’s ensemble cast made for an impressive episode that should be known as ‘The One Where Rick and Shane Have a Long Overdue Punch-up’. Zombie mayhem was present and correct again, with the character drama being threaded through it, and informed by it, better than last week by some margin.

In some ways, it was a very traditional format for series drama; there was an A plot – Rick and Shane’s excursion to dump off teenage bandit Randall – and a B plot – Lori, Maggie and Andrea have to deal with the now-conscious Beth’s apparent desire to commit suicide. If you were missing your favourite character this week, consolation could be taken that the very tight focus on, effectively, just six characters made for a gripping piece, and left nobody with the sort of perfunctory role that T-Dog seems to have every single week. On the whole, if there’s nothing for a character to do, I’d rather not see them at all that episode than have them mill round in the background and occasionally say one line.

The two plot threads were balanced far better than last week’s ‘first half action, second half talking’ approach, and worked better for it. Of the two, it was necessarily the A plot that got the most attention, as alongside some more actual zombie action, the increasingly poisonous nature of Rick and Shane’s relationship came to a head. Rick put his cards on the table, telling Shane that he knew everything – about Lori, about the death of Otis, about Shane’s twisted love for his wife. Shane initially seemed to take this on board, looking chastened for the first time in about ever. But as they found themselves stuck with a dilemma about whether or not to kill Randall, then a swarm of walkers descended, Shane took the opportunity to have his say. And he was pretty firm about it too.

Jon Bernthal’s been pretty impressive as Shane this season, all glowering anger and frightening obsession; by comparison, Rick’s obsession with what may be a now obsolete morality has meant Andrew Lincoln has had far less of a chance to impress. Let’s face it, the goody-goody hero is usually the less interesting part to play. But Rick’s definitely changed over the last few episodes, and this week Lincoln got a chance to impressively show us the extent of that.

His no-nonsense roadside speech to Shane showed us a man to be reckoned with, and also a man who these days won’t shy away from doing what needs to be done, however horrible it might be. It was telling that he accepted Shane’s reasons for sacrificing Otis, and admitted that he might well have done the same thing. But the crucial difference between them, which drove this episode’s conflict, is that Rick will take the time to consider before doing the horrible thing; Shane will just charge in and do it as a first response.

Hence, when they discovered that shifty teenager Randall, pleading not to be left at an abandoned Public Works Depot 18 miles out from the farm, knew Maggie and had therefore known the location all along, Shane’s first instinct was to kill him right there. Rick, typically, didn’t altogether disagree, but wanted to take the boy back to the farm and think on it overnight. But this was what pushed Shane right over the edge, as he came to the conclusion that Rick didn’t have what it took to do the hard thing. The look on his face said it all as he told Rick, “you don’t have what it takes to keep us alive.” And from that moment, the punch up was on.

They weren’t messing about, either. This was a seriously nasty fight, with both parties struggling for possession of the gun. Clearly, Shane meant to use it on Rick; Rick, presumably would have just threatened Shane with it. But if there was any doubt about Shane’s murderous intentions, that went out the window when he flung a giant wrench right at Rick’s head.

Fortunately for both, he missed, though his intention was now in no doubt. Unfortunately, the wrench went sailing through a window into a room full of ghouls, who shuffled out en masse for another tense bit of zombie mayhem. Surrounded by some quite fast-moving walkers, Rick and Shane scarpered in different directions; the fight put on hold, but far from resolved.

We’d seen part of this action sequence in the show’s cold open, but this time I’d say it hadn’t been needed. I like non-linear narratives, but I’m not keen on the practice of grabbing the viewer pre-credits by taking an exciting bit from halfway through the story then rewinding to the start. It smacks of a lack of imagination – what, you couldn’t write an exciting scene at the story’s beginning? Particularly when, I felt, writer Scott Gimple had done so this week. I would have been grabbed quite sufficiently by Rick’s opening speech to Shane, with a zoom in to the latter’s surly face leading to the credits.

Still, at least we knew there was going to be zombie action. While less numerous than last week, it didn’t disappoint, particularly for taking place in daylight where the detail of the impressive make-up could clearly be seen. These were some nasty looking corpses, particularly the big, lipless brute that ended up toppling on Rick – the first of three to fall hungrily on him, pinning him to the ground while he frantically shot them in the head, unable to wriggle out from under.

Shane too had problems as he bolted into a school bus with a door that couldn’t be locked, and tried to knife each zombie in the head as they squeezed through the gap. Randall arguably had it even worse, as his hands and feet were still tied. Even with this stricture, he managed to graphically snap an undead woman’s arm before reaching the knife he needed.

This was some tense stuff, and well done – there was no stinting on the gore, either. But it was also integral to the progression of Rick and Shane’s fight. As Rick managed to grab Randall and run for the car, Randall made the fairly sensible point that it made no sense for Rick to rescue a man who several minutes ago had been trying to bash his brains in. For a minute, it looked like Rick agreed, as he hared away in the opposite direction; like Shane, I was totally taken in by that, so it was a surprise when the car roared up next to the bus, with Rick exhorting Shane to make his escape via the back door.

On the drive back, Shane was more docile, but the look on his face made me think that we’re far from seeing their rivalry resolved. But all the secrets between them are now out in the open, and the field of battle is laid. As a result, I’m now seeing Rick less as a do-gooding moraliser, but as someone whose judgement is more measured and considered than Shane. It looks like he really does have what it takes to survive. But somehow I don’t think Shane will be convinced.

Meanwhile, back at the farm, Beth unexpectedly got a plot thread as it became clear she was hellbent on killing herself. Lori and Maggie, inevitably, were horrified, but Andrea had a more Shane-like pragmatism given her own recent desire for suicide. We’ve not really seen any interaction between Lori and Andrea before, but this week they got an electric face-off in Hershel’s kitchen; neither pulled any verbal punches, and we were left in no doubt as to the contempt they hold for each other. Lori sees Andrea as lazy and not pulling her weight; Andrea, for her part, sees Lori as selfish and spoiled, taking for granted all the good things she has in such a horrible situation.

I have to say, it was Andrea I really sided with. It’s no fault of actor Sarah Wayne Callies, but Lori really is irritating and comes across as always wanting more from everybody. This is now so consistent that it must be an intention on the part of the showrunner – I’m sure her selfishness will lead to much trouble in the upcoming weeks. Andrea, meanwhile, had an uncomfortably sensible pragmatism about the desirability of suicide in the scenario they all face. In the event, she left Beth to make her own decision, and the half-assed attempt she made at slashing her own wrists betrayed her lack of conviction in killing herself. Eventually, even Lori had to concede this had probably been the best approach. Trouble is, I’m betting that, having had this one plotline, the writers will be unable to think of anything to do with Beth afterwards. After all, her boyfriend Jimmy has still barely had more than a handful of lines despite having been in it since the second episode of the season.

This dark philosophising on the attraction of suicide was efficiently threaded through the action with Rick and Shane, so the episode as a whole felt far better balanced than last week. There was also some touching on an issue I mentioned last week – is it only bite victims who rise as zombies, or everyone who dies? This came up as Rick and Shane puzzled over some zombies they’d just killed who seemed to have no bite marks at all. Eventually they concluded that the infection must have got in through scratches on the victims; which should worry them both given the open wounds they both got during their fight, and the amount of zombie blood liberally sprayed about near said wounds later on. It could be that one of them isn’t long for the world of the living – my money would be on Shane.

A gripping, action and character filled episode ended with Rick and Shane back where they started, heading back to the farm with a bound Randall in the trunk. Next week, it looks like they’ll have the unpalatable dilemma of whether to kill him in order to ensure their group’s safety. That could be interesting, and intentionally or not shows yet another resemblance to classic BBC post-apocalypse drama Survivors.

There’s a truly gripping episode in the first series of that in which the settlement of plague survivors debate whether to kill an apparent murderer in their midst; with no judicial system any more, it could be the only way to deal with the situation. Eventually, the ‘murderer’, a man with the mind of a child, is indeed executed. And then the group find out that he was innocent after all. It made for an enthralling moral dilemma, and it looks like Rick’s gang are about to find themselves in a similar situation. This could be the ultimate test of Rick’s considered judgement versus Shane’s bullheaded pragmatism – and could be very interesting indeed.

The Walking Dead: Season 2, Episode 9

Triggerfinger

Strike me pink, there were actually some zombies in The Walking Dead this week! Sightings have been so infrequent of late that I was almost beginning to forget that it’s, you know, a show about zombies.

A little glib, I know, but the general lack of any walking dead in a show called The Walking Dead has been a pretty obvious sign of the budget cuts the show’s had to cope with this year. Well, that and every episode being basically set around one house and one field which I’m now becoming resigned that our characters will be stuck at for the rest of the season at least.

And even when zombies have shown up in recent episodes, they’ve been less than a threat. Hershel’s barn full of walkers were fairly easily dispatched as they shuffled blinking into the sunlight, that chubby one down the well literally went to pieces, and the ones Daryl encountered in the woods were too pathetic to threaten him much even though he was actually unconscious.

Here, though, I think we were presented with more zombies in the first half of this episode than have been in the last seven combined (I’m not counting the season premiere, with its impressive freeway herd; the last time we saw zombies as any kind of threat in the show). I suspect their numbers may have been digitally enhanced, but if so, it was done well – since I only suspect it.

And they were genuinely threatening too, and gruesome. We were thrown right into zombie mayhem from the outset, as one of them literally scraped off its own face trying to get through the hole in the windshield of Lori’s overturned car. Eww! Thankfully Lori seems to have got back some of her previous gumption, and had the presence of mind to rip off the indicator stalk and shove it through the creature’s eye socket. Menaced by another zombie, she used a handy wheel trim to knock it off its feet, then having run out of bits of car to use, got her gun and shot it.

Meanwhile, in the local town that seems to consist of a bar, a pharmacy and three anonymous buildings, Rick, Glenn and Hershel were faced with a veritable swarm of the beasties. First though, there was a nicely tense standoff with the fellow travellers of the two reprobates they’d shot last week. I was a bit confused by this, as I’m sure it was still daylight when Rick shot them, but it was full dark as we heard (presumably the same) gunshots echoing outside the bar. I did wonder whether one of the thugs hadn’t been shot in the head, and had risen again – the show has yet to establish whether it’s only bite victims who come back as zombies, or everyone who dies. But apparently not, so the day/night discrepancy remains a mystery.

The remaining bandits were put to flight by a rapidly approaching crowd of zombies, but not before Rick managed to shoot one of them who was then graphically chowed down on, mostly in the nose area. It’s great to have some real gore back in the show, to remind us that this is a horror story as well as thoughtful post-apocalypse scenario. Another of the thugs was abandoned after having jumped from a roof and impaled himself through the leg on a railing; cue Rick’s usual, perhaps non-pragmatic, insistence on trying to rescue him, even in the midst of a crowd of rampaging zombies. But after much umming and ahhing over whether to conduct an impromptu amputation, even Rick had to concede that this wasn’t the time or place and simply ripped the guy’s leg off the railing – again gruesomely.

This was looking good, but at that point the action pretty much stopped, and we went back to the character tension we’ve been all too familiar with for most of this season. Admittedly, there is some very good drama to be had out of this, particularly with Shane becoming increasingly unhinged, but the episode felt a little unbalanced as a result; all action the first half, all talking the second.

It’s looking like most people on the farm have now twigged that there’s something a little off in Shane’s account of how Otis died, including Lori, who got a chilling two handed scene with Shane in which he told her that he still loved her, and would do anything to protect her. And I mean anything. Jon Bernthal’s performance as Shane is convincingly unravelling as the situation continues, even while the viewer is often forced to admit that his more pragmatic philosophy is better suited to guarantee survival than Rick’s endless moralising.

Hershel, of course, is still none too happy with Shane after what happened at the barn, even after his change of heart regarding the walkers. Scott Wilson has made Hershel a believably old-fashioned, upright Christian without making him dislikeable, which is something of an achievement in this kind of show. He’s simply a decent, honest man with his own set of values, and Shane has trampled all over them. Which is why his telling Shane to watch his mouth carried some weight.

Indeed, the Shane-as-bad-guy thread may be coming to a head, as Lori had a heart to heart with the ever-trusting Rick, to try and convince him of just how mad his best friend was becoming. This was a chilling scene in two ways. Firstly, Lori’s summing up of Shane’s present state of mind made you realise quite how dangerous he’s become; and secondly (maybe this is just me), it seemed that Lori was virtually egging Rick on to ‘get rid’ of him. It may be that the writers are trying to play up a very selfish streak in Lori that wasn’t there in the comics – in this scene in particular, she came across as rather like Lady Macbeth, driving her husband on to a murder that she wants committed.

Away from the Rick/Lori/Shane triangle, we got to see Daryl again, which was a relief after him having been almost absent last week. Like most fans, I find his character one of the most interesting in the show, and his disillusionment after the death of Sophia is being excellently played by Norman Reedus. This week, he had a revealing scene with Carol, who’s rapidly shaping up into a sort of love interest for him. Perhaps it’s because their names rhyme.

Their scene together, as Daryl vented his anger by verbally attacking Carol then almost physically attacking her, was cleverly laden with what was unsaid. Daryl’s plainly racked with guilt, about Sophia and even Merle, and unsure of his place in the gang. Carol, for her part, encouraged him to “let it all out”, while almost seeming to brace herself for what she saw as the inevitable moment that he started to hit her. As Carol, Melissa McBride gave quite a lot of weight to her domestic abuse plot thread last season, and I liked the way that was subtly referenced here. I was also glad that Daryl, for all his anger, and his necklace of severed zombie ears, obviously remembered it too, pulling back at the last moment as he almost struck her.

As character stuff went, I’d say that was probably the highlight. Maggie and Glenn had a bit of business about Glenn’s crisis of confidence; elsewhere, Beth was still catatonic, so she at least didn’t have to have any lines written for her. T-Dog did get one line this week, consisting of three whole words –“Who is that?”. It’s a shame the writers can’t think of anything to do with him this season, as though his character only existed to counterpoint Merle’s racism last year. The irony is that he now seems like the show’s token black guy, with nothing to do or say, which is surely a little bit racist in itself.

An odd mixture of action and character drama then, this week, with the balance not well struck between the two. But the zombie mayhem was most definitely welcome, coming close to the heights of the season premiere and reminding us that this isn’t just any apocalypse – it’s a zombie apocalypse. Let’s see if they can keep us from forgetting that.

The Walking Dead: Season 2, Episode 8

Nebraska

After the brutal slap in the face (and highly effective it was too) that was the last few minutes of the mid-season finale, AMC’s The Walking Dead is back for what I gather is referred to as a mid-season premiere. I must admit, there were times during the draggy first half of the season that I was tempted to stop watching altogether; or at the very least stop blogging about it. But after the slow burn culminated in that incredibly powerful ending to the first half, I thought I’d give it a chance to get moving again.

And has it? Well no, sad to say, not really. I’m starting to get an almost pathological boredom reaction to the very sight of Hershel’s farm now, so it didn’t help that the action picked up exactly where we left off. Having said that, this was the only thing to do from a dramatic perspective – something very shocking had just happened, that would have a profound effect on all those present. It made sense to pick up where they did. Still, this is a show that’s done non-linear narratives before. How much more effective might it have been, given the widespread criticism of the first half’s slow pace, to throw the viewer into an entirely new, refreshingly different scenario, then reveal in flashbacks how we got there?

Be that as it may, there were at least signs that the show might be starting to pick up the pace. There were, inevitably, more of the interminable arguments in the group, as Rick and Shane shouted at each other about whether what Shane did was the right thing or the bloody stupid thing. But a lot of people are starting to see it Shane’s way now. T-Dog was strongly approving of what Shane did, and even Carl seems to be shifting to the pragmatic, survivalist viewpoint. Only Dale, glaring balefully at Shane while Shane ranted, seems to be mired in the morality of the world that’s gone. By the end of the episode, it’s beginning to look like Rick too has accepted that things can never be what they were.

From a character perspective, this episode was full of people having that kind of realisation. As Carl solemnly told Lori that he would have shot Sophia himself, had he been in that position, we saw the look of sheer horror on Lori’s face. But a child growing up in a post-apocalypse world full of hungry ghouls can’t expect the kind of caring upbringing we expect now.

One of the things the show has done rather well is explore the gulf between our ‘liberal’ morality (as represented by Dale and Lori), and the pragmatic realities of survival in such a situation (as represented by Shane, and increasingly, Andrea). Thankfully, given the zombie genre’s tendency to be a survivalist nutter’s wet dream, it’s come down on neither one side nor the other; and paradoxically, it’s been previously stereotypical redneck Daryl who’s embodied the balance between the two philosophies best.

Daryl, though, was thoroughly disillusioned this episode, as was Carol, who accepted that, really, her daughter had been dead for ages. Hershel too was undergoing that realisation, having witnessed the fact that repeated gunshots won’t stop these ‘people’ unless they’re to the head. Hershel reacted in a rather stereotypical way for an upright Christian having his beliefs shattered; he found the nearest bar and proceeded to get roaringly drunk.

With his daughter Beth in a state of catatonic shock, his medical skills were clearly needed, so off Rick went, accompanied by Glenn, to the local watering hole. All right, fine, that makes sense, despite Lori’s rather selfish misgivings – after all, as ‘leader’ of the group, Rick was taking responsibility for what had happened. But what on earth then possessed Lori to firstly try sending Daryl after them, then recklessly go herself?

It’s no fault of actress Sarah Wayne Callies, but Lori is rapidly becoming the show’s most irritating character, in the same way as all those heroines of trad horror movies who, frustratingly, seem to go out of their way to put themselves in as much danger as possible. With Lori having flipped her car after contrivedly crashing into a handy walker (really, even after the apocalypse, it’s still a good idea to look where you’re going), we’ve got a new plotline. Let’s hope to heaven the gang don’t spend the next six weeks poking round the woods looking for her now; if they do, I really might stop watching.

Conversely though, the bar scene in which Rick, Hershel and Glenn were suddenly interrupted by the arrival of a pair of uncouth survivors was rather splendid. It’s a scene I’ve seen before in most post-apocalypse stories, but it was done well. The introduction of a couple of new characters, after the cabin fever of the endless stay at Hershel’s farm, was refreshing, as was their account of the way things were going in the wider world – I just wish the show would start showing us rather than just telling us about it.

The tension built as Rick was clearly not going to let them at the farm, and they equally plainly weren’t taking “sod off” for an answer. The fact that it culminated in a messy exchange of gunfire was no surprise, but what was a surprise was Rick so readily shooting them. It’s a vital bit of character development as he too starts to become more pragmatic about survival; what it says about his humanity is not too complimentary, but it’s believable.

Still, though, this is a zombie show, remember? After the pretty low zombie count in the season’s first half, I was hoping we’d get a bit more undead action amidst all the character development. As was pointed out, you’d think all that gunfire around the barn would have caught roaming walkers’ attention, and the farm might have been besieged by a herd, our gang having to fight their way out and finally get the show on the move again. Or at the very least, you’d think Rick, Glenn, and Hershel might have drawn a few ghouls to them in that bar.

But no, disappointingly, zombies were still pretty thin on the ground here. I say “on the ground”, as the most we saw of them was the now neutralised corpses outside the barn. There was a moment that genuinely made me jump as one of them turned out to be not so dead after all, but she was quickly dispatched. After that, the only undead gore in evidence was that carelessly placed arm in the pickup full of corpses, as it fell off the side and Andrea, plainly now used to such things, unthinkingly picked it up and threw it back in the truck.

Apart from that, the only walker we saw (for a split second) was the one unwise enough to wander into the road at the precise moment that Lori was paying no attention whatsoever to where she was driving. That zombie may or may not be properly dead now, but he didn’t play much of a part.

And that was it for the zombies this week. Again, I think the show’s reduced budget over its longer running time is becoming far too evident. For a mid-season premiere, this had far too little action. After all, when Doctor Who came back after its unprecedented mid-season break, at least Let’s Kill Hitler actually moved (whether its movement made any sense is another matter entirely). By contrast, The Walking Dead’s mid-season return, while a little pacier than it has been of late, still moves at a zombie’s pace in comparison.

Yes, the character development and exploration of the post-apocalyptic scenario is well done. But as it stands, I can’t say I have so much emotionally invested in these characters to want to spend more time on their ruminations than on progressing the story. If I want an in depth exploration of the day to day realities of life after the end of civilisation, I’ll watch the original Survivors. What I want from The Walking Dead is a pinch of this, but with a lot more action. And on this basis, sadly, I may have to wait a while…

The Walking Dead: Season 2, Episode 7

Pretty Much Dead Already

And so, finally it’s the big mid season climax. The part where, traditionally, the viewers are whipped up into a frenzy of excitement and then left, hanging on a cliff and breathless for more. So did The Walking Dead manage to achieve that? Well… not really. At least not in this viewer’s opinion.

There was plenty of drama at least, as many of the character conflicts that have been simmering away over the last few weeks finally boiled over. As Glenn said, “secrets are killing us.” So after last week’s orgy of revelation, this week people started to confront each other over what had been revealed. Rick told Shane about Lori’s pregnancy – though, significantly, he didn’t let on that he knew about Lori and Shane too. Shane immediately went to quiz Lori over whether the bay was his, only to receive the terse reply, “even if it’s yours, it won’t be yours”, leading to a pissing contest in which Shane tries to prove that he’s saved Lori’s life more often than Rick.. Dale, worried after last week’s confrontation with Shane, went off to hide the guns. Because Dale and Glenn were about to reveal the one important secret remaining – Hershel’s barn full of zombies.

All the threads were fairly neatly drawn together. Shane is finally at snapping point with the discovery that Hershel’s been keeping a barn full of walkers next to where they sleep. Maggie’s furious at Glenn for divulging the secret, but as we discovered in a conversation with her father, she’s less convinced than before that the zombies can be cured. Daryl’s intent on searching for Sophia, even though her mother Carol is on the point of finally giving up; meanwhile Shane’s insulting him because of his poor background. And Rick’s trying his best to be understanding about Hershel’s view of the walkers, because it’s Hershel’s place and Rick’s a reasonable man – even though being reasonable may not be a factor in favour of survival in the new world.

There was much pontificating on that this week, as character after character seemed forced to concede that, while Rick was the better man, it might actually be that Shane is the better equipped to survive. This point was rammed home by Rick’s insistence on continuing the search for Sophia when, even in the old world, the police would surely have given up by this point.

But the ethical question remained of whether Shane’s pragmatism was worth giving up civilisation for. There was another electric confrontation between him and Dale, as Shane went to retrieve the guns that Dale was hiding, so that he could exterminate Hershel’s barn full of "sick people”. This was a tense scene with the threat of actual violence emphasised by Jon Bernthal’s tightly wound physicality; for a while, I actually thought he might kill Dale to get the guns. Then, as Dale pointed his rifle unwaveringly at Shane, I wondered if Shane would be the one to go out this time – after all, he’s long dead by this point in the comics.

But Shane’s shaping up to be the real antagonist of the series. Every zombie story needs one, from Cooper in Night of the Living Dead to Captain Rhodes in Day of the Dead. Zombies are a mindless menace; for true evil, you need a human. Dale summed it up with his opinion of Shane: “at least when the world went to shit, I didn’t get dragged down with it.”

Rick, meanwhile, was continuing to be reasonable, and trying to persuade Hershel that his group should stay, on the grounds that his wife is pregnant. He’s so desperate, he’s even prepared to help Hershel rope in a pair of zombies that have got stuck in the swamp for storage in the barn.

Which led, inexorably, to the ‘big climax’. Shane, already wound up by Lori’s dismissal and Dale’s contempt, saw the procession bringing the new undead arrivals and lost it completely. Fed up of Rick’s reasonable approach, he demonstrated the true nature of the zombies to a devastated Hershel by riddling one with bullets to show that it still wouldn’t die – until he blasted it in the head. Of course, for a medical man, Hershel was a bit blinkered in not noticing the creatures had decomposed so much as to be incurable, but that was another factor for comparison with Shane. Hershel had been so shut away from the chaotic apocalypse that he’d had no real inkling of what these creatures really were.

And of course, Shane then finished what he’d started by opening the doors of the barn to let loose “more than a dozen” zombies. It was here that I started doubting that this would be a particularly ‘big’ climax; there’d been more zombies than that in almost every episode of season one. Nonetheless, the scene had some dramatic impact as we saw our gang , left with no choice, pick up their guns and blast away at these people who had been Hershel’s friends and family as the man himself looked on in shock.

You could say Hershel was being naive. But then the script pulled out a bit of a surprise, that actually put the gang – and by extension, the viewer – in his shoes. For the last zombie to stagger out into the sunlight was none other than little Sophia, another in a long line of horrifying little girl zombies that started all the way back in Night of the Living Dead.

I must say, this took me by surprise, though with hindsight it seems an obvious dramatic denouement; I suspect I was wrongfooted once again by expecting the scenario to end as it did in the comics, which of course don’t feature this subplot. But it did pack a real punch as Carol shrieked hysterically, and even Shane had the anger stunned from him. In the end, it fell to Rick to put Sophia down, and the first half of the season ended with him standing over her body. Perhaps he is well enough equipped to survive this new world after all. The question posed by this episode being, at what price?

As a cliffhanger, intended to leave the viewers breathless for more, this didn’t seem particularly effective; the zombies in the barn have been put down, all the gang’s secrets are out, the search for Sophia is (finally!) over, and they can all take a breather and deal with the fallout. At no point was anyone in serious jeopardy from any of the zombies, and with them all put down, nobody was left in danger either. It felt, more than anything, like the kind of semi-conclusion often used on a season break when the writers aren’t sure if the show’s coming back.

But coming back it is, not just for the second half of this season but reportedly for a third too. Whatever happens, I think they’re going to have to up their game quite a bit. After the really effective first season, this one has overall felt very draggy, with its limited locations and endless infighting. Sure, there’s been some very effective character drama so far, but at the expense of the zombie apocalypse scenario. At times, it’s felt as though the writers have just chucked in the occasional shambling ghoul to remind us we’re not watching another soap opera.

Even this supposed cliffhanger break episode spent more time on the talking than the action, and when the zombies did show up, it still wasn’t what you’d call exciting; certainly not in the same way as the thrilling set pieces in season one in Atlanta. I’m certainly not saying that depth should be sacrificed for thrills – but some thrills to go along with the depth would be nice. It’s a balance the first season struck well, and one that, so far, this season is finding hard to replicate. I’m more and more convinced that this is due to AMC’s insistence on having a longer season on a smaller budget. I’ll be back to watch the rest of the season in February, but with the fervent hope that enough money’s been held back to make it pacier and more expansive than the first half.

The Walking Dead: Season 2, Episode 4

Cherokee Rose

After last week’s intense, character driven episode of The Walking Dead, comes… another one. And that’s not a bad thing, as last week got me really interested in the characters again, to the extent that I wouldn’t have minded a comparative lack of zombie action. As it happened, last week didn’t stint on the zombies, but this week did, and I found myself not missing them… too much.

After the extreme darkness the characters were exhibiting last week, with their constant talk of death and ending it all, this week saw them lightening up somewhat. Which was not only a relief but quite plausible; if they’d remained in that kind of mood on an ongoing basis, I’m pretty sure that there would have been a few suicides.

Not that it didn’t start a bit dark, though. The pre-credits sequence showed us Otis’ funeral, a sad cairn in lieu of a body, and focussed very much on Shane’s obvious (to the viewer) guilt. As Hershel eulogised Otis and his wife cried, the camera kept lingering on Shane’s face, and credit to Jon Bernthal for an expression that screamed guilt to the viewer while giving nothing away to the characters onscreen. As if to make things worse, Shane was then called upon to recount Otis’ last ‘heroic’ moments as a memorial, and I found myself grimacing as he told a patently false tale of self-sacrifice cleverly intercut with flashbacks of what actually happened.

As I said last week, keeping Shane as a main character longer than the comics did is one of the best decisions in the TV show. Part of the appeal is that even though he’s a baddie, he’s clearly ended up there with the best of intentions. He really loved Lori, and started an affair with her when he believed her husband was dead; now that he’s back, Shane’s finding it hard to shut off those feelings, and that’s leading him down a very dark path. And I got the impression that he also genuinely loves little Carl, and that his cold-blooded use of Otis as zombie bait was purely to ensure that he managed to get back with the medical supplies needed to save the boy’s life. Not that that makes it any better, of course – you know what they say about the road to hell and its construction methods.

The gang also got back together again at Hershel’s farm this week, which was something of a relief; dramatically, it was all beginning to feel a bit scattershot with various parties heading off in various different directions. Now that they’re back together again, there’s time for some good old fashioned woolgathering as they contemplate the situation they find themselves in. Carl’s out of the woods, but there’s still no sign of little Sophia; and Daryl’s lonely search for her was a key to making his character even more sympathetic.

It would have been easy to portray Daryl, as Merle’s brother, as just another thoughtless, bigoted redneck. What the writers have done with him is far more interesting; he’s a man from a very poor background who may well be somewhat uncivilised, but comes across as genuinely decent. We saw that last week as he bolstered the depressed Andrea’s spirits, and saw it again this week when he comforted Carol as she busied herself tidying up the RV in the hope of her daughter’s return. Norman Reedus made Daryl’s tale of the Cherokee Rose (from which the episode drew its title) genuinely affecting, and you could see how touched Carol was not just by the flower he brought, but also by the hope. In a genre which so easily turns to survivalist wank fiction, it’s nice to see that the backwoodsman who’s so good with the crossbow is also a decent, caring human being.

Also building on the depth he was given last week was Steven Yeun as Glenn. He’s been perfect in the role, and the costume has made him look exactly how you imagined the comic character to be. But up till now,he’s been relatively little used. That’s changed these last couple of weeks as the show gets closer to his pairing up with Hershel’s daughter Maggie. The scene between them in the abandoned pharmacy was both touching and hilarious, as his attempts to disguise what he was really taking by picking up a pack of condoms led to them inevitably having sex. It was sweet, and in keeping with the Glenn the comic fans know, that even confronted with an outright verbal offer to have sex, he still couldn’t keep his foot out of his mouth: “I’d never have sex with you… I mean, of course I would… but…” Later, Maggie tells him it’s a one time thing, but I think the showrunner would be wise to retain their rather charming relationship from the comics.

It wasn’t just free love that Glenn was getting up to this week, though; he was instrumental in dealing with the lone zombie the gang did encounter, a rotted, corpulent thing who’d stumbled down one of Hershel’s wells. Reasoning that shooting it in the head would contaminate the water, an ill-thought-out plan was created to extricate it with a rope by dangling Glenn down as bait. Of course, this all went pear-shaped as the rusty pump they were using as a pulley gave way, leading to a real heart in mouth sequence as Glenn dangled screaming just above the ravenous corpse and the others struggled to drag him out before it bit him.

Thankfully he was fine – I’d hate to lose Glenn, one of the comic’s mainstays, so early in the story, but I didn’t rule it out – and not only that, he had managed to snag the zombie in the rope. It was a big fat one, and quite rotten; you didn’t have to be a genius to predict the result of trying to drag a severely decomposed corpse out of a well with a rope tied tightly round its shoulders. With gruesome inevitability, it happened; the corpse split in half, the lower half tumbling back down the well trailing guts and all manner of organs with it. So much for not contaminating the water – it’s lucky Hershel’s got other wells.

The only zombie sequence in this week’s episode, this was well-directed, going from direct tension to gruesome gore pleasingly for zombie fanboys like me. It also felt a little like an unnecessary subplot tacked on solely to provide a bit of zombie action in an episode light on it. But I’ve got a feeling some of the stuff we saw here is going to pay off later on. Most noticeable was Maggie’s sickened face as T-Dog smashed the zombie’s head in; later, Glenn suggested that this must be the first time she’s seen one of them killed. But last week, she alluded to having lost several relatives to the plague, so there’s something not right there.

I don’t want to go into too much detail for those who haven’t read the comics, but if they’re doing what I think they’re doing, further hints were given by the revealing conversation between Rick and Hershel as they gazed out over the beautiful view from the farm and discussed God. It’s plain that Hershel’s a God-fearing man, but he’s also a vet and committed to relieving suffering. He’s no mad fundamentalist, but his quiet certainty about his faith in the face of recent events seems a little foolhardy. Playing Hershel, Scott Wilson has endowed the character with the same old-fashioned morals (not necessarily a bad thing) as the comic character. But his insistence that Rick and co surrender all their arms seemed odd when they could be surrounded by zombies at any minute, as Shane pointed out. And while he’s obviously considering letting the group stay on at his farm, he wouldn’t hear of them having to sleep in his barn. Good old hospitality? Perhaps…

Andrew Lincoln continued his convincing Georgia accent as Rick got some more bonding done with his family too. After confessing to Hershel that he didn’t have much truck with God any more (interesting to know that he presumably used to), he had to confess to his son that he’d lied earlier about little Sophia being OK. It was a sweet scene, and I’m impressed with young Chandler Riggs as Carl; he perhaps seems a little too sweet for a boy in this situation, but the loving relationship with his father is crucial to the narrative, and this scene really brought that home. Plus, he finally got to inherit Rick’s sheriff’s hat, his trademark in the comics (he’s rarely seen without it). And this version had the added verisimilitude that Rick was going to have to pad the hat out so it would fit!

Rick also symbolically discarded the rest of his police uniform this week, packing it away in a drawer at Hershel’s, presumably not to be seen again. As a piece of symbolism, it was a little heavy handed; the uniform obviously the last representative of a once-secure world now vanished forever. But the look on Rick’s face, and the way Lori sadly embraced him as he closed the drawer, gave it a real dramatic heft.

Lori too was troubled, after sending Glenn with a secret requirement from the pharmacy and insisting on his absolute discretion about it. So much discretion in fact that even he didn’t know what he was looking for; presumably Lori just used a brand name. But she told him to look in the feminine hygiene section, and even if you haven’t read the comics it was fairly obvious what she was after. Of course it was a pregnancy test, and of course it was positive. Even Glenn, who now knows what she wanted, doesn’t yet know that she really is pregnant; but Rick might. I’m still betting that’s what Dr Jenner whispered in his ear just before he left the CDC, based on the blood tests they all had.

Of course, if Lori is pregnant, the question is, who’s the father? She slept with Rick as soon as he found her near Atlanta, but she’d been sleeping with Shane up till then. And Rick may be wondering too. Why else, if Jenner has already told him, hasn’t he mentioned it to Lori himself? It’s another interesting dynamic to add to the tensions in the group, and I’m sure it won’t be the last one.

As I said, after finding its feet with the characters again, the show does this kind of drama well, leaving you wanting eagerly to know what happens next. It’s a mark of the drama’s priorities that this week’s cliffhanger was nothing to do with menacing zombies; rather, it ended with a shaken Lori squatting in the dark holding her positive pregnancy test. Tonally, the show is beginning more and more to remind me of BBC 70s post-apocalypse drama Survivors, with its focus on real, sympathetic characters dealing with the practicalities of life after the end of civilisation. The mainly rural setting is another similarity; it’s lucky for the budget that in a post-apocalypse scenario, cities would be best stayed away from. I’m not sure how many episodes could have been set in the deserted Atlanta without breaking the bank!

A similarity to Survivors is no bad thing (to my mind, it’s the most comprehensive exploration of a post-apocalypse scenario ever shown on TV). But the show’s still not forgetting it’s also a zombie horror, and even the brief encounter with the undead this week was satisfyingly gruesome. Although the ‘looking for Sophia’ plot is beginning to drag somewhat, these last couple of weeks feel like a show finding its feet again after an uncertain start to the season.

The Walking Dead: Season 2, Episode 3

Save the Last One

It was (almost) straight back into the thick of the zombie action in this week’s Walking Dead, but for the first time this season, it felt like the characters had more dramatic heft than the events surrounding them. For the first time this season, this episode felt like a drama punctuated by zombie action, rather than zombie action interrupted by lulls in which characters stated the obvious.

It was dark territory indeed this week, no mean feat for a show that’s set in a post-apocalyptic hell roamed by flesh eating corpses. But it wasn’t the scenario in which our characters found themselves that made it so dark; rather, it was a series of cleverly intertwined musings on the desire for survival versus the choice to opt out and die.

That this seemed more interesting than the zombie shenanigans faced by Shane and Otis at the infested school medical centre was perhaps the first time this season that the characters have felt fully rounded enough to actually care about. The depth of the characters in the first season was one of the reasons the show was part of that group – including Battlestar Galactica and Game of Thrones – that propelled genre television into the ‘serious drama’ realm. I must confess that, until this week, I hadn’t really felt that season 2 had managed to recapture that; this episode, by show newcomer Scott Gimple, amply made up for it.

The theme of whether it was worth living in a world like this, or better just to give up, was what drove the episode, and was first brought up in a truly intense scene between Rick and Lori. With their son Carl still in critical condition, and Shane’s return with the necessary medical equipment very much in doubt, Lori had started to wonder whether it would be better if Carl didn’t make it after all. Why, she argued, would a child want to live in a world like this, eventually to become nothing more than a hunted animal himself?

This is a theme touched upon in the original comics on several occasions, but the performances of Andrew Lincoln and Sarah Wayne Callies gave it a lot more oomph than just reading it on the page. And as in the comics, you found yourself wondering whether giving up might be the more sensible thing to do. As Lori pointed out, their friend Jackie (who chose to die in the explosion of the CDC) hadn’t had to see any of the terrible things that had happened since. Rick, of course, was more optimistic – he’s the hero, he has to be. But even then, when it looked like Hershel was going to have to take the risk and operate on Carl without equipment, it was Lori he asked to make the choice.

In an episode where death seemed more significant than it has recently, Andrea and Daryl found themselves having a similar heart to heart as they went on a (somewhat inadvisable) trip to the woods by night to continue their search for little Sophia. Darabont regular Laurie Holden (best known to me as Marita Covarrubias in The X Files) has been varying anger and despair in her portrayal of Andrea since Dale persuaded her not to remain in the CDC as well, and this is obviously going to be a running character thread.

As I mentioned last week, of all the characters, Daryl seems best equipped psychologically to deal with the situation, and he countered Andrea’s hopelessness with similar optimism to Rick. He’d been lost in the woods as a child too, and after all, he’d made it ok. But he gave Andrea’s death wish short shrift as they encountered an all too gruesome reminder of the consequences; a man who’d hanged himself from a tree but neglected to shoot himself in the head, leaving his reanimated corpse dangling helpfully while others munched on the flesh from his legs.

This was a nicely gory way of ramming home the point of their argument, as Andrea confessed she wasn’t sure if she still had a death wish. But later, as Dale apologised for taking away her decision and gave her back her gun, you had to wonder. You also had to wonder whether Dale had a death wish of his own as he went on a ramble through the darkened traffic jam in search of cigarettes. I’m a hopelessly addicted smoker myself, but even I would probably rather endure nicotine withdrawal than wander around a dark area that might be full of zombies. Still, nice to see that Dale smokes Morleys; this fictional ‘almost-Marlboro’ brand may be most associated with The X Files, but it’s been a staple of TV shows since at least the early 60s.

In contrast to last week, pretty much all of the characters got a moment in the spotlight here, with none given a raw deal. We got to know Hershel’s daughter Maggie better this week, and I particularly enjoyed the growing intimacy between her and Glenn. Glenn as a character has sometimes got short shrift in the comic, but has sometimes seemed even more perfunctory in the TV version; it was nice to see Steven Yeun given some decent material at last, as he caught the character’s blend of smartassery and adolescent awkwardness. Lauren Cohan as Maggie seemed a lot more ballsy than she does in the comics, which is no bad thing, and it looks like she and Glenn might grow close…

Leaving earlier than he did in the comics, though, was Pruitt Taylor Vince as Otis. Otis in the comics always seemed a bit of a spare part, as though Robert Kirkman introduced him then had no idea what to do with him. Vince’s characterisation actually gave him more depth, but he certainly didn’t outstay his welcome. I may have been concentrating on the character drama this week, but the intervening zombie action was still pretty thrilling as Otis and Shane struggled to get away from the infested school.

There were some well-directed shock moments like when Shane was about to jump from a window and a zombie suddenly reared out and grabbed him; or when a horde of them, previously unseen, lurched into the chain link fence Shane and Otis were resting against. But nothing like the shock moment that was revealed in flashback after Shane returned, alone, to Hershel’s farm. For it transpired that, despite Shane’s tale of heroic sacrifice, Otis had actually been shot by Shane himself to decoy the zombies while he got away.

The moment this happened was a genuine shock, despite previous heavy signs that Shane was a wrong ‘un. Remember last season, when he sighted Rick with his hunting rifle before Dale turned up? Or when he practically tried to rape Lori in the CDC? Shane’s badness came to light fairly early on in the comics and he was duly despatched (though Rick had to dig him up again later to shoot him in the head properly). It’s one of the best decisions of the TV version to change this, as Jon Bernthal’s charismatic performance makes him believable and likeable even though you know what he’s capable of – in this case, not even leaving poor Otis the last bullet to shoot himself before the zombies tore him apart.

As Shane took the opportunity to shave his head back at the farm (to hide the marks Otis had made struggling with him), he looked like the very devil himself in the steamy bathroom mirror. Unfortunately, in one of the few missteps this week, we’d seen this in the pre-credit sequence. It works well as a device causing the viewer to wonder why this was significant, which was revealed at the very end of the episode. But while I can see the intention, I thought it also drastically undercut the tension of Shane and Otis’ deadly mission; after all, we always knew Shane would make it back, because he hadn’t shaved his head yet.

That criticism notwithstanding, this was far and away the best episode since the show’s return. The drama was compelling, the zombie action thrilling, and the dramatic balance between the two far better struck than in previous weeks. The characters too seem finally to be shining the way they did last year. Despite the fact that the overall plot has, technically, barely moved, I was gripped throughout, and hope we can have more episodes of this kind of quality.