The Walking Dead, Season 4, Episode 16, Finale, “A”

“A”

(All images used in this post are screen caps from AMC’s The Walking Dead, unless otherwise specified.)

I would like to jump right in with a quote from Andrew Lincoln on last night’s Talking Dead’s Season 4 finale episode, regarding the evolution of Rick Grimes:

“I don’t think he (Rick) regrets (anything he has had to do, to survive)…The final scene, in the train car, you meet a Rick who is more powerful… more together, and more lethal than he’s ever been…”

And to that I give a big, “Hollah!”

Rick-In-Charge, people, ready to bring it like it’s never been brought before in Season 5…and with tonight’s episode, The Walking Dead’s Season 4 finale, “A,” we got a sneak preview of some of the badass brutality our favorite deputy can dish out…and, by golly, I like it!

Episode 16 opens with a flashback sequence from the early days of the prison, as Carl and another young man pull open the gates to let a car come through, then close them quickly to block the walkers outside the fence.  Rick, Maggie, and Glenn emerge from the car, back from a run. Maggie is still wearing her riot gear, while Glenn carries his.

Hershel is there to greet them. “You’re a sight for sore eyes,” he tells Maggie, cupping her cheek, as she smiles gorgeously back at him. Then, Hershel turns to Glenn, puts his hand warmly on Glenn’s shoulder, and holds it there.  Glenn smiles shyly, reveling in this fatherly show of love.

It was so good to see, and feel, Hershel again, and it was sad to watch this scene, too. I was pretty much chugging Stella, and blinking back tears, while watching it.

The flashback scene ends with Rick passing Carol and Tyrese, as they come in from their “culling walkers at the fence” shift. Rick takes a modified cane, with a sharpened point, from Carol as he passes her, and goes to help other prison residents cull the remaining walkers at the prison fence.

Hershel looks on as Rick goes from one grim duty to another, and he sees Carl watching all this, taking cues from his father. It seems like Hershel’s thinking about all this…how it is, and how it could be…how it should be.

Hershel! So good to see you again!  Scott M. Gimple said this scene was shot after the mid-season finale...Andrew Lincoln said it was emotional to have Scott Wilson back, and be back, at the prison set to film these scenes.

Hershel!  Scott M. Gimple said this scene was shot after the mid-season finale, and he was relieved that Scott Wilson didn’t cut his hair or shave his beard after filming the mid-season finale, as per their request, as they knew then they would be filming this flashback scene later in Season 4. Andrew Lincoln said it was emotional to have Scott Wilson back, and be back at the prison set, to film these scenes.

The scene shifts abruptly to present day, with Rick, dazed, staring ahead…he is covered in blood, sitting against a car.  We see a close-up of his hands, which are bloodied, shaking, and still bearing his wedding ring.  Then, the shot pans out to Rick’s bloodied face, as he stares ahead…he looks in slightly in shock, but calm, processing.

One look at Rick's face, here, and we know some shit went down...

One look at Rick’s face, and we know some serious shit went down here.

Time shifts back, slightly…it’s earlier that day…Rick, Michonne and Carl are sitting around a tiny fire, in their makeshift camp in the woods. This camp is like others we have seen, with a tiny fire, cans strung around the camp’s perimeter to signal walkers coming.  Rick asks Carl and Michonne how hungry they are, on a scale from 1-10…Carl replies with a “15,” while Michonne answers with a “28.”

Rick suggests they go see if they caught anything in the snare trap he set…when Carl asks if he can come, Rick replies, “How else are you going to learn?”  He turns to Michonne, bids her to come as well.

Rick is pleased to see that they caught a young rabbit, which he removes from the snare and tucks into his bag.  While he resets the snare, Rick explains the workings of it to Carl and Michonne (while looking majorly fine in the process).

The lesson is interrupted by the terrified screams of a man in trouble, crying out for help. Carl runs towards the man’s cries as Rick vainly tries to call him back. Rick and Michonne run after Carl, Michonne unsheathing her katana.

Carl has reached a clearing in the forest, where a lone man is trying to fend off a large group of walkers who have surrounded him…they are closing in.  Carl raises his handgun to shoot, but Rick pulls him back, telling Carl, “We can’t help him.”

Carl, Rick, and Michonne watch, horrified, as the poor man, overrun, screaming, gets torn apart by the biting walkers:

Nicotero and the effects/makeup crew outdid themselves with this episode, this scene especially (which serves as gruesome inspiration for Rick in a desperate situation soon to come...epic gore and new-classic WD moments abound in this episode!)

Nicotero and the effects/makeup crew outdid themselves with this scene (which serves as gruesome inspiration for Rick in a desperate situation soon to come…epic gore and new-classic WD moments abound in this episode!)

Carl is transfixed by the horrible scene before him, until Michonne finally gets his attention, tells them they need to go…but the three have already attracted the attention of a couple of the walkers, who turn away from the carnage and begin to follow them.

Pursued by the Tear It Up Walkers, Rick, Carl and Michonne come upon  another group of female walkers, eating some poor somebody on the train tracks (Talking Dead called them Ladies Who Lunch Walkersha!).  With walkers behind them, and more walkers in front of them, Rick rushes forward to attack the lesser threat, the Ladies Who Lunch Walkers, who are fewer in number, and who are blocking the trio’s escape out of there.

Once again, we see how vulnerable any living survivors are, out in the open. Shit can go south in an instant, and one must always be ready. Without a real shelter, a real sanctuary, nobody can really rest, live, or thrive. They can only survive, and for how long?

Back in time, to another prison flashback moment…Hershel draws a curtain back at Rick’s cell, letting in the morning light. Rick blinks awake, asks immediately if everything is ok. Hershel tells Rick he’s fine, he just needs his help with something. Rick sits up, asks what time it is…Hershel doesn’t know, tells Rick that ever since he gave Glenn his watch, it’s always “right now” to him.

“It’s early,” Hershel tells him.

At this point in the episode, two key items have been presented to us…Hershel’s pocket watch, which has been given to Glenn, and the riot gear outfits that were found and used by Rick and Co.  since the first days at the prison. As we know, these items become highly significant as the Episode 16 progresses to its climactic end. Once again, the masters of WD show us how the story really is in the details.

As Rick gets up from his cot and gets ready to join Hershel, Beth comes into Rick’s cell and takes Judith. Rick automatically begins to buckle on his gun belt. Hershel tells him he won’t need that, that the gun belt will just get in the way. Rick shoots Hershel an, “Old man, you be trippin’ if you think I’m going anywhere without my gun” look as he walks past him, and out of the cell…it’s the same look Carl has shot Rick many times before, and since.

The scene shifts abruptly back to the present, with Rick and Michonne cutting their way through The Ladies Who Lunch Walkers…the group of Tear It Up Walkers are growing in number and gaining on them quickly.  Once Rick, Michonne and Carl get an opening, they make a run for it…later, down the road, they walk quickly, but seem winded, and weary, and hungry…they spot an old car, and make camp there for the night.

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By the car, Michonne finds, and rekills, Goblin Walker, who has pretty much been ground into the ground…

Later, while Carl sleeps in the car, Rick and Michonne huddle in the darkness over another small fire.  Rick laments that the rabbit they had was small, while Michonne remarks that at least it was something.

Rick muses aloud that that’s all they ever talk about anymore, how hungry they are…in the days of the prison, he had forgotten what hunger like that felt like.  Michonne agrees, adding that she hopes they will get another chance to forget what hunger feels like, soon…

This, of course, leads them into the subject of Sanctuary.  Rick takes the positive approach, saying if they are taking people in, they have to be strong, have a system in place.  Michonne wonders aloud if the whole thing is legit.

I’ve said this before, people…a savvy sister isn’t going to be taken in by some white man’s slogan.  Woodbury didn’t fool Michonne, and something doesn’t quite sit right with her about Sanctuary, either. It seems to be the whole, “Come One, Come All!”  aspect about it…why open yourself up like that, instead of conserving resources and protecting what’s valuable inside an established community?  Seems weird…what does Sanctuary gain by openly advertising like they do, drawing whomever, from wherever, to them?

My first hit: they’re cannibals.  My astute work colleague agrees: “Food and fertilizer!”  And weapons!  What a concept…advertise that you have a sanctuary with radio broadcasts, banners, and signs, being centrally located where all the railway lines converge, Terminus Station.  After luring the unsuspecting people in, strip them at gunpoint of any prized clothing or possessions, take their weapons, and store them in train cars until it’s butchering time…then, strip them of their tasty flesh!

(And, if the flesh isn’t so tasty, I’m sure ol’ Mary at the grill has a spice rub, and a special sauce, for that!)

The Cannibalism Theory seems to be a prevailing theory among WD fans regarding Sanctuary.  The Daily Beast ran an interview with Scott M. Gimple regarding the cannibal theory, and what else may be in store for fans in Season 5.

Check it out:

http://www.thedailybeast.com/articles/2014/04/01/what-s-next-for-walking-dead-showrunner-scott-gimple-on-season-5-and-what-mary-s-grill-really-means.html

Meanwhile, back at the tiny car camp, as Michonne and Rick speculate about Sanctuary, they are startled by a noise from the nearby woods…they whirl around, wait, no other noise, so they begin talking again, only to be interrupted by a gun to Rick’s temple:

Dirty Joe and his band of Downstairs Thug Boys, come to get their revenge...

It’s Dirty Joe and his band of Downstairs Thug Boys, come to get their revenge…“Oh, deary me,” mocks Joe. “You screwed up, asshole…you hear me? You screwed up!”  I do need to give mad props to Jeff Kober, who plays Joe, for a great performance, all around…especially for his evil laughter in this scene…somebody give that man a Deadie!

See that look, Joe?  That's the look of a man who is about to go off...

See that look, Joe? That’s the look of a man who is about to go off…

As Joe blathers on about how it's a day of

As Joe blathers on about how it’s a day of “reckoning,” Rick is thinking, planning, waiting for opportunity…

Meanwhile, at the car, a nightmare comes a knockin' for poor Carl...

Meanwhile, at the car, a nightmare comes knocking on the window for poor Carl

As Joe counts down (how did he know it was New Year's eve?), Daryl is horrified to see his friends being held by Joe and the DTB's...

As Joe counts down ( and how did he know it was New Year’s Eve?), Daryl is horrified to see his friends being held by Joe and the DTB’s…

Being the beautiful human being that he is, Daryl lays down his weapon and offers his life for Rick's, Carl's and Michonne's.

Being the beautiful human being that he is, Daryl lays down his weapon and offers his life for Rick’s, Carl’s and Michonne’s.  We love you, Daryl Dixon!

As Joe realizes where his man-crush Daryl's loyalities lie, he gets pissed, calls Daryl a liar....

As Joe realizes where his man-crush, Daryl’s, loyalties lie, he gets pissed, calls Daryl a liar….

...so Joe sets the DTB's on Daryl,

…so Joe sets the DTB’s on Daryl:  “Teach him, boys, teach him all the way!”

Joe tells Rick,

Aaagh! Poor Carl!  Joe tells Rick, “First we’re going to beat Daryl to death, then we’ll have the girl…then, the boy…then we’ll shoot you, and we’ll be squared up (for Lou’s death)…”

Rick, Smash! don't think so, Joe...

Rick In Charge don’t think so, Joe…

As he watches what is about to happen to his son, his friends...

As he watches what is about to happen to his son, his friends…

Rick goes primal, busts Joe's nose with the back of his head...then goes slo-mo...he's hulking out...Rick, Smash!

Rick goes primal, busting Joe’s nose with the back of his head and discharging Joe’s firearm…then Rick goes all dazed and slo-mo...he’s hulking out…Rick Smash!

At Joe's taunt,

At Joe’s taunt, “What the hell you gonna do now, sport?” Rick takes a page from the Walker Handbook and Bites The Crap Outta Joe’s Neck…

And spits it out!  Holy fuck!

…and spits it out! Holy fuck!

Looking like a crazy killer clown, Rick Grimes turns to his son's would-be rapist, growls,

Looking like a crazy killer clown, Rick Grimes turns to his son’s would-be rapist, grinds out, “He’s mine!” through clenched teeth while striding towards Deserves It Dan (TD’s name for the doomed pedophile) with Joe’s knife…

Later for you, pedophile.

Later for you, Deserves It Dan.

Rick, Smash! slices and dices the bad man in a primal fury...

Rick Smash! slices and dices the bad man in a primal fury…

As Daryl, Michonne and Carl watch in shock and horror...

As Daryl, Michonne and Carl watch in shock, horror…and recognition of what must be done to survive.

As Michonne hugs Carl close, and he watches his dad exact vengeance on the DTB's, I typed into my laptop,

As Michonne hugs Carl close, and he watches his dad exact vengeance on doomed Deserves It Dan, I typed into my laptop, “Why am I so turned on right now?”   Am I sick that I think it’s hot that Rick goes so dark?  Because I do, people…I really do.

After this harrowing scene, and a much-needed commercial/bathroom/ beverage re-up break, we are taken back in time once again.  Hershel and Rick stand in the prison yard, and Hershel outlines his vision for settling in, making the prison a lasting home. There are feral pigs, horses in the forest that can be captured and domesticated; they have seeds and space for planting.  It is time to prepare and plant, says Hershel, and he wants Rick to be the one to help him do it.

Rick reminds Hershel that he needs to be “out there,” going on runs, manning the fences. Hershel lays it on the line…he wants to teach Rick how to farm, to plant roots, cultivate a lasting, peaceful life at the prison, so Rick can teach Carl, and in doing so, heal both their wounded spirits.

“He (Carl) shot that boy,” Hershel reminds Rick.  “He needs his father to show him the way…what way are you going to show him?  He can shoot, we know that…What’s his life going to be? What’s yours?”

Rick looks down, taking Hershel’s words, and the lesson, in. Hershel looks around the prison yard, sees the potential for things to be better now.

Rick replies that making things better inside the prison fences doesn’t change what is happening outside them.

Hershel knows this, but he tells Rick, “This is a good place to start.”  I love Hershel’s faith and his vision, that their positive intentions and actions to build a lasting community can influence the world beyond the prison fences in a positive way. His influence and teachings resonate throughout this episode, as Rick must bid farewell to the peaceful life they worked so hard to create at the prison, and embrace the new order, the savagery that he must wield in order to survive and protect his son and his people.

The scene shifts back to Rick, bloody, sitting against the car. Michonne and Carl are inside the car, shirts covering the windows. Carl is sleeping a troubled sleep, his head on Michonne’s lap.  She gently smooths his hair back, looks down at him protectively. Such a horrible world for a young child to be in, and while Carl has had his annoying tween-tool moments, he is still just a kid…and this past day has been shitty, and tomorrow isn’t going to get much better, unfortunately.

Daryl walks up to Rick, wets a cloth and hands it out to Rick, for him to wipe his face with…I guess that’s how the scene was supposed to go, but on Talking Dead later, Andrew Lincoln said that Norman Reedus really didn’t pour very much water on the cloth, and so trying to wipe the dried fake blood that was caked in his beard felt like getting “a Brazilian.” As soon as he said “Brazilian,” the audience laughed, and Andrew Lincoln got really cute and embarrassed.

Anyway, Daryl tells Rick that he didn’t know what they were, Joe and the DTB gang. Rick asks him how Daryl got up with the DTB’s.  Daryl tells Rick how he and Beth made it out of the prison together.

“I was with her for a while,” Daryl begins.  Poor Daryl looks like he is about to cry as he says this, looks down.

Rick looks at him, asks him hoarsely if Beth is dead.  Daryl looks at Rick, says she’s just…gone.

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Daryl tells Rick that he didn’t know what the DTB’s were capable of, that they had a simple code that seemed to kind of make sense on the most basic level. Rick understands, reminds Daryl that he was alone.  “It’s not on you, Daryl,”  Rick tells him.

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What makes Rick so hot is that he can be so dark, but so tender, loving, and wise…he loves his people and will do anything to protect them, stand up for what’s right.

When Daryl looks down, not convinced, Rick says, “Hey…”  Daryl looks up, and Rick is looking into his eyes.  “It’s not on you,” Rick says, again. “You, being here, with us, now, it’s everything.” Daryl takes this in, and then Rick drives it home by telling Daryl, “You’re my brother.”

(Dude, I married the love of my life and brought two beautiful children into the world, but I will tell you, that moment when Rick tells Daryl that he’s his brother is, hands down, one of the best moments of my life.  For real.)

Daryl tries to return the favor by telling Rick that what he did last night, anybody would have done that.  “No, not that,” Rick disagrees…he reminds Daryl of what he, Rick, did to Tyrese…it’s not all he is, but it’s there, and it’s why he is still here, and why Carl is still here.  He will do whatever it takes to keep Carl safe…that’s all that matters. The scene ends with a shot of Michonne, and Carl, his head on her lap, listening to this conversation from inside the car.

Later, as they walk along the rails, Rick turns to Michonne, asks her if she’s ok…she tells him she is…he turns to her, tells her he’s ok.  “I know,” Michonne replies. As they near Terminus, and Sanctuary, Rick suggests they take the woods for the remainder of the journey, as they don’t know who these people are, yet.

As they approach the fence and look down upon Terminus, Rick advises they spread out and watch for a while, see what they see. Rick turns to Carl and asks him if he wants to stick together. “Sorry,” Carl says, walking away from his father.

Michonne notices this, asks Carl why he doesn’t go with his dad. Carl doesn’t answer, and after a moment, Michonne begins to tell him about how Andre died. She, Andre, Mike (Andre’s dad), and their friend Terry had gone to a refugee camp after the turn. The camp got worse and worse, people leaving, people giving up…but Michonne did not give up. One day, she returned from a run to find the camp’s fences down, heard the moans…Michonne’s voice breaks as she tells Carl, “It was over.”

Michonne goes on to tell Carl how Mike and Terry were “high” when it happened, thus unable to protect little Andre.  Michonne, in her grief and fury, did not rekill Mike and Terry, although they were bitten.  She let them die, and turn, and then she cut their arms and bottom jaws away, so they couldn’t bite or scratch, put chains around them, and kept them with her as a reminder.

With tears running down her face, Michonne tells Carl that while she discovered that having them around her “hid” her from other walkers’ detection, what she did was “sick” and that she lost herself, for a long time, until Andrea brought her back…along with Rick, and especially, now, Carl.

Michonne tells Carl that she sees how he’s been looking at his dad. “You don’t have to be afraid of me, or him,” she tells Carl.

Carl breaks down, tells Michonne that the other day, Rick told him that he was proud of him, that he, Carl, was a “good man,” but Carl has “all these thoughts.” He looks at Michonne, “I’m not what he thinks I am. I’m just another monster, too.” Michonne shakes her head with a little smile, gathers Carl up in a hug.

Meanwhile, Rick is going through the weapon bag, then buries it, stashing it.  He looks at Daryl, who is watching him. “Just in case,” Rick says simply. They then jump the fence into Terminus, weapons out, and make their way into a large warehouse-looking room with a woman on a microphone reading the radio broadcast for Sanctuary, “All who arrive, survive.”

Rick greets her and the others in the room, startling them.  One tall, peevish-looking young man, Gareth, steps forward, asks, “Are you here to rob us?”  “No,” Rick replies, “We just wanted to see you before you saw us.”  Gareth looks around at his comrades, who seem to have been hand-painting some Sanctuary banners and other propaganda, and with a shrug and a tight smile, says, “Makes sense.”

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Dude, these guys look like DIY emo-types who work at the organic vegan co-op…

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…and the fact that they’re probably cannibals makes it all so much creepier…the Sanctuary Cannibal Co-op can go suck it.

Gareth tries to mask his annoyance and alarm at getting caught so unawares by adopting a false-seeming concern (“Looks like you’ve been on the road for a good bit,” which is pretty much verbatim what Mary said to Glenn, Maggie, and the crew upon their arrival…very suspicious!), to a false cheeriness as he invites them to come up to the front of the house, where the “welcome wagon” area is…so much more inviting, but first, “we need to see everyone’s weapons…if you could just lay them down in front of you.”

Rick exchanges looks with Michonne, Daryl, but does what Gareth asks.  As Alex, the squirrely sidekick dude, pats them down, he keeps making stupid jokes, comments (“Hate to see what the other guy looks like,” as he pats Daryl down, taking in Daryl’s beaten up face, to which Rick replies, “You would.”).

After the pat-down, Gareth says, “We’re not those kind of people, but we aren’t stupid, either…and you shouldn’t be stupid enough to try anything stupid…just as long as we’re clear on that, we shouldn’t have any problems…just solutions.”  Rick regards him with the look of a man who just got a clear “tell” on someone who is not being 100% truthful about what is really going on here.

And what is the deal with all these slogans?  Seems like people who are sincere and truthful shouldn’t have pat slogans to rely on to explain what they are all about…I am not talking about helpful, healing slogans like ones used in 12-step recovery programs…I am talking about pat, pre-packaged slogans being used in lieu of sincere, honest expression.

Rick ain't buying it...and Michonne, Daryl aren't looking too convinced either.

Rick ain’t buying it…and Michonne, Daryl aren’t looking too convinced either.

When they are ushered up to the welcome wagon area, Mary is once again cooking meat at the grill. Her manner is more cautious, guarded than she was with Glenn, Maggie, and the gang.  “Heard you came in the back way, smart,” she says to Rick and the others. “You’ll fit right in here.”  Michonne asks Alex why they take people in the way they do, and Alex answers with another slogan, “The more people we take in, the stronger we become…” Blah, blah, blah.

As Alex blathers on, Rick spies items he recognizes…he sees a large leather backpack (Bob’s?) on one person, and he sees another young man suited up in riot gear that looks exactly like the riot gear suits they had at the prison.  On another woman, he sees Daryl’s poncho, the one Maggie was wearing in the last episode, when she and the crew walked up to Sanctuary…and last, Rick sees the chain of Hershel’s pocket watch, the one that Hershel had given Glenn, coming out of Alex’s pocket.

In a pimp deputy maneuver, Rick slaps the plate of food from Alex’s hand, grabs the pocket watch from Alex’s pocket, demanding, “Where the hell did you get this watch?” Rick holds his gun to Alex’s head, while Daryl, Michonne, and Carl have their weapons drawn in a terse standoff at the Sanctuary welcome wagon greeting area:

Once again, Rick In Charge  doing what needs to be done, and looking fine doing it!

Once again, Rick In Charge doing what needs to be done, and looking fine doing it!

A brief flashback to the prison…Rick sees Beth, holding Judith, and Patrick, who is quietly playing with toys that were grabbed on a run…he is embarrassed to be playing with a Lego set that is meant for ages 4-12…Rick tells him to not be, then he sees Carl, who is looking at a diagram, trying to figure out how to put his gun back together…Rick has made his mind up, tells his son he needs his help with something.  When Carl goes to bring his gun, Rick tells him to leave it…at Carl’s questioning look, Rick tells him, “It will just get in the way,” echoing Hershel’s words to him earlier on, and taking his own gun belt off as well.

The scene shifts back to Sanctuary, to Carl with his gun drawn, the others with their weapons out.  Alex is freaking out, and Rick tells him to call off the sniper on the roof, who has Rick in his sights.  Rick asks again where Alex got the watch, and Alex lies, tells him he got it “off a dead one…didn’t think he’d be needing it again.”

When Rick asks where they got the riot gear, a voice answers from behind him.  He whirls around, still holding Alex at gunpoint, to see Gareth standing there, his hands held out in a gesture of peace, reasonableness.  Gareth has an answer for everything…they got the riot gear off a dead cop, they got the poncho off a clothesline…Alex tries to tell Gareth they can “wait,” to which Gareth answers, “Shut up, Alex, and every time Alex tries to talk, Gareth tells him to “shut up.”  Wow…kind of a weird way to talk to a comrade who is being held at gunpoint.

Gareth asks Rick what he wants. Rick, holding the gun to Alex’s head, asks, “Where are our people?” Gareth replies that Rick didn’t answer the question, and then. a gun fires from behind Rick, as some Sanctuary dude tries a cheap shot while Gareth distracts Rick.  Rick whirls, blasting Alex with a bullet in the head, dropping him.

Mayhem ensues, with Rick, Michonne, Carl, and Daryl making a run for it, through the Terminus station, while snipers shoot bullets at their feet, more like trying to corral the group into going a certain way rather than trying to kill them.

As one path out, then another, gets blocked, they run to a warehouse building marked, “A”, and as they run through, they hear voices calling to them for help, with rapping and pounding noises coming from the inside of the large metal train cars and storage boxes there…we see a shot of what looks like many skulls, spines, and ribs lying on the ground, as if human bodies were stripped of all the flesh on them,  and the bones left in a pile on a large tarp.

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Gimple can act as coy as he wants to…this whole mess screams “Cannibals!” to me…

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More slogans…these people are THE WORST.

Outside, Rick and them find themselves surrounded by Sanctuary Cannibal Co-op soldiers, all pointing guns at them. Gareth orders Rick, “the ringleader,” into the train car, then “the archer,” then, the “samurai.”  If they do not comply, Gareth tells Rick they will kill his son.

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Once inside the train car, Rick, Daryl, Michonne and Carl find they are not alone…emerging from the darkness, is Glenn, and Maggie, Sasha, Bob, Abraham, Rosita, Tara, and Eugene. “You’re here,” says Rick, who seems to take this as a divine sign…it really kind of is, isn’t it?  I mean, what are the odds? As always, Rick In Charge is thinking, always thinking of the next plan.

Maggie gestures to the others in their group, Abraham, Tara, Rosita, Eugene, telling Rick and them that they are their “friends” who helped them survive.  Daryl responds, “Then they are our friends, too.”  I love this feeling of bonding, of a superhero team forming…it’s Rick Grimes and The Train Car Superstars.

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Abraham says, dryly, “For however long that’ll be…” “No,” says Rick In Charge…he has a different take on things.

Rick In Charge cracks the door of the train car, peers outside, then turns to the gang...

Rick In Charge cracks the door of the train car, peers outside, then turns to the gang…“They’ll feel pretty stupid when they find out… they’re screwing with the wrong people!”

In the final flashback scene, Rick, Carl, Hershel, Beth, and Judith are outside on the prison grounds…as Rick shows Carl how to spear the shovel into the ground, at an angle, and they all laugh and joke easily, Hershel tells Rick that it can be like this all the time…Rick smiles, replies that it’s like this now, and that’s all that matters.

Well, there we have it, people.  While Scott M. Gimple acknowledged that Rick really doesn’t have any reason to feel confident, as they are being held prisoner in a train car, without weapons, and surrounded by what appears to be brainwashed, flesh-eating LIVING people who are armed to the teeth,  it all does feel so right, somehow…

Rick believes, so I believe, and I will tell you that there is not a group of people I believe can get the hell out of The Sanctuary Cannibal Co-op more than I believe in Rick Grimes and The Train Car Superstars!

On a final note: Talking Dead, being a live show, always has some epic weirdo moment, and the finale episode was no exception…because Andrew Lincoln and Scott M. Gimple were the guests, they had some fans Skype in questions for the two…and up on the screen comes Emily the Bird Girl:

I was so surprised to see this that I didn't get the best pictures, but chose this one because I felt it captured best the whole look she was going for.    I was inspired to write a haiku for her:   Bird girl, Emily Why? I ask of your Skype-style, cockatiel question.

I was so surprised to see this that I didn’t get the best pictures, but chose this one because I felt it really captured the whole look she was going for.
I was inspired to write a haiku for her:
Bird girl, Emily,
Why? I ask of your Skype-style
cockatiel question.

Emily’s question was directed to Andrew Lincoln, but he had no idea what she asked because he couldn’t stop looking at the bird…Scott M. Gimple and Chris Hardwick were in the same boat, as was everyone…what the hell did she ask?  We were all too obsessed with Emily’s cockatiel to pay attention to her question.

Emily, if you are out there and reading this, drop me a line, or put a “Like” on my barnfullawalkers Facebook page…I am obsessed with you and your bird!

https://www.facebook.com/barnfullawalkers

Cheers to Season 4, and to honor Rick Grimes and The Train Car Superstars, I am going to go Double Pantera in the Season 4 finale playlist…never been done before…an epic moment in http://www.barnfullawalkers.com history!

Take that, creepy cannibal co-op!

As the Talking Dead put it: Hey Terminus, guess what, you’re screwed!

Playlist:

Little People, “Start Shootin'”

Pantera, “Walk” (for Rick In Charge…and Rick Smash! <3)

Zero 7, “Spinning”

Handsome Boy Modeling School, “The Truth”

DJ Shadow, “Midnight In A Perfect World”

Pantera, “A New Level” (for Rick Grimes and The Train Car Superstars)

The Walking Dead, Season 4, Episode 15, “Us”

“Us”

(All images used in this post are screen caps from AMC’s The Walking Dead, unless otherwise specified.)

The Walking Dead’s Season 4, Episode 15, “Us,” begins in a fairly straightforward manner…no music, no montage…just the drone of Eugene, walking along the tracks beside Tara, completely geeking her out while trying to impress her with his scientific acumen, epic mullet, and general philosophy about…everything.

“I’m well aware it sounds bananas…but lookin’ at the fossil record, knowing what I know about this infection, you cannot say for certain it isn’t what killed off the dinosaurs.  Do I believe that’s what happened?  No…but it’s enjoyable as hell to think about an undead ankylosaur goin’ after a diplodocus!”

Wow, sweet opener, Eugene…if you’re trying to impress a 10-year-old kid who’s obsessed with dinosaurs and who happens to be navigating a a zombie apocalypse. You can practically hear Tara’s eyes rolling back into her head.

Eugene is oblivious to this, chuckling to himself at the thought of undead dinosaurs battling it out. “That there’s a video game worthy of a preorder.”  (Actually, he is right about that one). Eugene looks on as Tara stoops to pick up a flattened coin on the rails. “Aw, hell yeah, score…a few more of those, a little aluminum foil and some bleach, you got yourself some volts, sister.”

At Tara’s questioning look, Eugene explains, “Homemade battery.”

As it seems to mean so much to him, Tara holds out the coin, offering it to Eugene. “Here.” “For real?” he asks.  “For reals,” Tara answers dryly.  “Much obliged,” says Eugene, as they continue down the tracks.

Emboldened by the coin exchange, Eugene tries again to impress Tara…”Speaking of video games, what kind of gamer were you? RPG, smut, sim racing?”  It is clear by this point that Eugene did not have a single iota of lady-game in the world before, and he is striking out big-time in this world, as well…it also doesn’t help that he’s trying to hit on a lesbian.

Eugene, Eugene, Eugene…while I remain unconvinced that he has any real insights on what actually caused the zombie apocalypse, I do hope he can find a way to work that angle to get some play in the new world order…he definitely has some good taste in women, Tara and the lovely Rosita!

And, he has “The Eugene,” a mullet so epic, there should be a sculpture made of it for future PZA (post zombie-apocalypse) generations to visit and make offerings to (especially, I suppose, if Eugene actually does possess the key to a walker cure as well).

That night, Tara is sitting against a tree, staring out into the darkness with a haunted look. Abraham comes to sit beside her, his assault rifle across his lap, stifles a yawn. Tara tells him to go to sleep, she’s got this…he tells her no offense, but he’s not leaving Eugene’s life in her hands.

It is clear that Abraham is 100% on Team Eugene, and he also makes it clear that Team Eugene is in with Glenn and Tara only until they find a working vehicle, then they continue on their mission to get to Washington.

Tara lowers her head into her crossed arms, and Abraham urges her to get some sleep, telling her he hasn’t seen her sleep yet.  As Tara does not reply to this, Abraham continues, “I thought it was because you were in love with him (Glenn).” Abraham chuckles to himself, muses aloud, “Girl in love with the guy she’s trying to help get to his girl…if that were the case, closing your eyes would be just too damn tragic.”

“If that were the case,” replies Tara.

Abraham knows that’s not what’s going on here.  He looks at Tara.  “I saw the way you were looking down Rosita’s shirt when she was serving you dinner…hell, the things are damn near hypnotic.” (And may I give a “Hollah!” to that?)  Abraham chuckles, continues, “Look, Eugene spends half the day staring at her ass…I’m not mad, it just means my theory’s shot.”

“I’m awfully sorry about that,” replies Tara.  Sarcasm seems to be her go-to mechanism these days.

Abraham, however, is not attached…to his initial theory, anyway. “Well, I’m right and I’m wrong…” Abraham  is, however, still trying to get Tara to talk about what is obviously weighing on her. “It’s something you did, or something you didn’t do,” he says, looking away into the darkness.  He is giving her time, and space, to talk to him.

Tara closes her eyes for a brief moment, says softly, “Something I did.” Abraham looks at her, waits.  Tara looks back to him. “You were in the army,” she says, with a raise of her eyebrows, a little smile, and a nod. Then she looks away. “I get the whole gung-ho, mission is your life bullshit.”

Abraham says, “Yeah? You do…”  “Yeah,” Tara whispers. She turns to face him. Her game face is back on. “So we both got our reasons…we both got our missions.”

Abraham nods, says nothing.

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Tara turns again to Abraham, asks, “What do you do when the mission’s over?” Abraham looks into the night, and nods in silent understanding.

The next morning, Eugene once again walks beside Tara, working out the logistics for them to share the battery her found coin will become, one day, if they collect all the materials needed. Eugene seems to know that the weak charge that homemade battery would generate would be the closest thing to any spark between them, and he’s working that angle for all it’s worth.

While trying to ignore Eugene, Tara looks ahead and spies something down the tracks…and there it is, scrawled in walker’s blood, Maggie’s sexy blood note to Glenn:

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As soon as he sees the sign, Glenn starts hauling ass down the tracks…

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Maggie!

Maggie!

Meanwhile, in a makeshift camp in the woods, the Downstairs Thug Boys are catching their last moments of a joyless sleep on the cold forest ground as a lone walker approaches.  The walker catches the barbed wire barricade in the face, sending the cans strung along it rattling, jolting the DTB’s awake.

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Mornin’!

One DTB says, “I got it” and dispatches the walker bayonet-upside-the-chin style:

Mornin', motherfucker.

Mornin’, motherfucker. After he rekills Mornin’ Walker, the DTB thrusts his bayonet into the ground, unzips, and unleashes his morning piss onto the dead walker.

Tony (the Hispanic dude who saw Rick under the bed just before losing consciousness in a chokehold) looks around, says it looks like that “Robin Hood cat” skipped out and went off on his own. Tony adds that he didn’t think Robin Hood had the “sac” to go off on his own like that.

Len, (who may have done the choking), seems like a pretty pent up dude.  He’s got some issues.  But, he does have the observation skills to notice that Robin Hood’s stuff is still there, probably just stepped out to “drop a morning deuce.” Joe, the leader, is looking pretty relieved at this.  It’s been pretty clear to me so far that he is way-gay for Daryl…welcome to the club, dude.

Somewhere where the morning shines a little brighter, Rick (yay! we have missed you, Deputy Grimes!) trudges along the rails talking, it seems, to himself…“We have about a day’s worth of water left… luckily it’s cooled off some, but…”  He looks back to see Carl and Michonne way behind him, each walking slowly, balancing on a rail, trying not to fall over.

“What are you doing?” he mock chides, to which Carl answers, “Winning a bet,” to which Michonne replies, “In your dreams!”  Rick has no choice but to laugh, and it did my heart good to see it…sigh…Rick is pleasedall is right in the world again.  Thank you, Rick. Just…thank you.  For. Everything.

What are those two up to now?

What are those two up to now?

Try to look stern...

Try to look stern…

...nah, can't do it!

…nah, can’t do it!

You crazy kids! :)

You crazy kids! 🙂

Michonne lets Carl win. #bettermotherthanlori

Michonne lets Carl win.
#bettermotherthanlori  (awww….just kidding…kind of)

Carl shares the prize, the last stale-ass Big Kat bar...sweet boy loves him some Michonne

Carl shares the prize, the last stale-ass Big Cat bar…“C’mon, we always share…” Michonne smiles, says, “Fork it over..”  So sweet!

Meanwhile, back in the dark douchebag forest, poor Daryl is not faring as well.  He needs some time and space to think, and a stealthy early-morning hunt will maybe help to clear his mind.

He has got to be freaking out inside about poor Beth, abducted in a creepy black funeral car, injured, alone…but, he must bide his time, and it is safer in numbers, right now, and nobody wants to piss Joe off…that guy seems a little fixated on poor Daryl.

Joe, and the rest of the Downstairs Thug Boys, are gonna be a little hard to shake. Daryl has a lot to figure out, and not a lot of time to do it.  He spots a rabbit and aims his crossbow:

um. yes.

um. yes…yes, indeed

Daryl fires, just as another, bigger arrow shoots from behind him, just grazing the hair at his temple and spearing through the rabbit, along with Daryl’s arrow.  (Daryl’s Arrow…great name for a band…someone should snatch it up…I do not play a musical instrument but love coming up with band names, so, welcome to it, and enjoy, and I’ll keep throwing them out there as I think of them.)

Daryl whirls around, and there is Len, lurking behind, poaching Daryl’s rabbit, and basically just there to harsh Daryl’s morning mellow.

“What the hell you doin?” demands Daryl, as he goes forward to the rabbit.  Len shrugs, “Just catchin’ me some breakfast.”  Len, who clearly is not gifted in the personality, nor the charisma, department, goes on to inform Daryl that his arrow went through before Daryl’s did, and that  “Cottontail belongs to me.”

Crouching down to pull the arrows out of the rabbit, Daryl tells Len that he’s been out there since before the sun came up. This is all he says, Daryl being a man of few words, and incredible hotness. Daryl clearly had first sights on the rabbit, and it clearly belongs to him.

Len, however, counters that the “rules of the hunt don’t mean jack” in this day and age, and that-there rabbit is “claimed,” so Daryl better fork it over.

Now, it is also clear that Len is picking a fight with Daryl, probably for things that went way far back in Len’s life and that Daryl has had nothing to do with, before now…but now Len is on Daryl’s ever-growing list of problems, and probably, at this point, near the top of Daryl’s ever-growing shitlist.  As Len drones on about the law of “claimed,” Daryl stands back up, looks Len in the eye, and tosses Len’s shitty arrow to the side.

Len’s gaze follows the arrow, his neck jutting forward, his feet planted, trying to intimidate Daryl by insisting that he hand the rabbit over now, or else… Daryl strides towards him as Len tries to hold his ground, unsuccessfully.. Daryl’s voice is soft, and sexy, and growly, as he stands before Len, looks him straight in the face, says, “Ain’t yours.”

Len, clearly challenged, goes for the sucker-punch, suggesting that it’s “some bitch” that has Daryl all messed up…and was it one of the “littl’uns? Cuz they don’t last too long out here…”

Daryl reaches for the knife in his belt:

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But just before Daryl can do us all a favor and end Len, Joe comes rushing up and breaks up the fight…he is so gay for Daryl, I mean, really…the dude can’t hide it, not even a little.

“Easy, fellas, easy…let’s put down our weapons and see if we can’t figure out what’s really the problem here…” Joe is of course eye-fucking Daryl the whole time he says this, and Len laughs from behind Joe in a thin, shitty way. Daryl’s eyes burn past Joe, into Len’s shitty face, looking majorly fine as he vibes Len hard. Joe finally tears his gaze from Daryl, turns to Len, asks him if he “claimed” the rabbit.

“Hell, yeah!” says Len.  “Well, there you go,” says Joe, turning back to Daryl. “That critter belongs to Len.”  Len juts his chin forward even more, demands, “So let’s have it!”  Yes, children, Len sucks.

Joe’s voice is pacifying as he turns to Daryl, “Looks like you’ll be wanting an explanation.” He steps towards Daryl, who leans back slightly and steps back away from Joe. Joe, who pretends not to notice this clear, universal signal of distaste, continues his explanation in placating, almost pleading, tones:

“See, goin’ it alone, that’s not an option nowadays. Still, it is survival of the fittest…that’s a paradox right there.” Joe leans in towards Daryl to make his point, which Daryl suffers…he already slipped with the step-back, before. Joe explains that he laid out some “rules of the road before things get too Darwin every couple of hours, to keep our merry band together and things stress-free.”

Joe is pretty much pitching this like it’s the best idea anybody ever had. While Daryl knows better, he also knows better than to show it..he’s turned away, looking down, trying not to be a dick about it, but kind of repulsed past the point of being able to hide it.  (Me too, Daryl, me too!)

“All you gotta do is “claim,” Joe continues, bringing it home. “That’s how you mark your territory, your prey, your bed at night…that one word, “claimed.” Daryl shifts back, growls softly, “I ain’t claimin’ nothin’.”  Len steps forward, reminds Joe that the rule is to teach Daryl if he doesn’t obey.

Joe, however, cannot bring himself to punish Daryl, and lays it on thick about how “it wouldn’t be fair to punish someone for a rule they never knew existed.” This flagrant display of favor towards Daryl causes Len to turn away and laugh bitterly while shaking his head, raking his hand through his hair, and pacing around with the unfairness of it all.

Len, dude, give it up.  Maybe you were Joe’s favorite at one time, but you are totally out of your league with this one. It’s Daryl Dixon, for fuck’s sake. Later for you, Len.

Daryl, deliciously defiant, dismisses all this, growling “There ain’t no rules no more.” (He’s so soft and growly this episode…really sexy.)  Joe would beg to differ, about there being no rules, that is…Joe would probably beg Daryl for a lot of things, truth be told, but he is trying to make a specific point…there are still rules, and Daryl knows it, and that’s why Joe didn’t kill Daryl for the crossbow.

Then, Joe grabs the tail end of Daryl’s rabbit, which Daryl still holds.  Daryl protests, and Joe cautions him, “Easy, there, partner.” His eyes on Daryl, Joe holds the rabbit carcass up to the tree and slices it in half with one stroke of his machete.

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Joe tosses the front half to Len, who glares at Daryl…Len is seething lime-green jelly at all the blantant favoritism that is being shown to Daryl, who clearly has the mojo and magnetism that Len has been lacking his whole life.  Len stalks off, and Joe looks at Daryl. “Claimed, it’s all you gotta say,” he says, with a shrug of his fingers.  Joe looks down at Daryl’s rabbit half.  “Ass end is still an end,” Joe says, and walks off.

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Daryl’s thinking, These guys are dicks!

Back at the rails, Glenn is hauling ass to Maggie…he’s charging ahead of the group and not looking back.  They have reached some sort of observation or loading tower, and Abraham calls for a rest, saying they are tired, and “tired is slow, and slow is dead.”

Glenn protests that it’s barely noon, to which Abraham replies, “I don’t give a monkey’s left nut!” (Ha! It’s pretty much guaranteed that any episode Abraham is in is going to bring us WD fans some pretty memorable lines to quote.)

Abraham continues, saying that nobody has slept more than a couple of hours, and while he gets it, “You have to find her,” he and Rosita have a mission too, and that’s to get Eugene to Washington, “and save the whole damn world!”  He says it looks safe here, that they are going up in the tower for a rest stop.

Just then, Tower Walker makes its presence known:

As Tower Walker steps in for his cameo, we get a rear view of

As Tower Walker steps in for his cameo, we get a rear view of “The Eugene” and how the back drape of it flows down in greasy, brown mulltastic waves…it’s truly a mullet of epic proportions!

In its undead zeal to chomp the living, the Tower Walker pitches right over the railing, becoming Look Out, Below! Walker...and hits the dirt in a gorish heap of rot and bone.

In its undead zeal to chomp the living, the Tower Walker pitches right over the railing, becoming Look Out, Below! Walker…and hits the dirt in a gorish heap of rot and bone.

Unfortunately, Tara’s knee gets hurt in the mayhem of the walker’s fall (ahem, Abraham shoving her aside, and to the ground, rudely, in his quest to protect Eugene from all the forces that want to kill his white, pasty ass). Limping gamely on her injured knee, Tara insists to Glenn that she can still walk.

Glenn is being super self-obsessed right now, and tries to bid farewell to Abraham and Co., ready to continue on, whatever it takes…”You don’t need us and we don’t need you,” says Glenn before he turns away, ready to move on.

Rosita calls him out, “Wow, you’re an ass….She (and she points to Tara) will do whatever you say because she thinks she owes you…man up! Stay for a few hours!”

Besides looking totally hot calling Glenn out, may I just give Rosita mad props on accessorizing in the zombie apocalypse…girlfriend’s got on gold hoops, cute military-style hat, leather fingerless gloves, and a cute-ass Michael Jackson-style military jacket, with long sweater sleeves over the hands, complete with DIY thumbhole cut out…Rosita is officially my girl-crush and my new fashion icon.

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Glenn proposes that if they continue on, and go until sundown, then he will give Eugene his riot gear, “right here, right now.” Abraham accepts, despite Rosita’s protests that Tara is in no shape to move on…”You’re not her mama,” replies Abraham, cutting his eyes to Glenn, then Tara.  “If she says she can walk, she can walk.” Abraham turns to Glenn and tells him he’s got himself a deal.

Back aways at Douchebag Junction, Joe is really pressing Daryl for some kind of commitment:  “So what’s the plan, Daryl?” They are walking down the railway line, Joe’s smoking a cigarette. He seems pretty tense, putting it all out there.

Daryl plays dumb, “How so?” Joe’s been around the block a few times, and he’s played this game before. He spreads his cigarette hand out in a wide arc of impatience, asks, “Well, you with us now, but you ain’t soon?”  He’s bordering on strident. Desperation, Joe…so not sexy.

Daryl knows how to play it.  He tosses his hair, acts coy, buys time.  I admire his technique. Well played, well timed, keeps Joe, and Joe’s Daryl-boner, guessing.

“So, what’s the plan?” Joe presses, trying for casual but so not fooling anybody. Daryl hedges, not about to give anything up to this man or his band of degenerates. “Just uh, lookin’ for the right place, is all,” he offers. It’s so cute to me that Daryl’s good at holding his cards close to his chest, but he is not good at lying.

“Aw, we ain’t good enough for ya, huh?” Joe presses.  Dude, so gay for Daryl.  “Some of you ain’t exactly friendly,” replies Daryl, being the master of understatement that he is.

Joe takes a drag from his cigarette, “You ain’t so friendly, yourself.”  He continues, “You know you need a group out here…”

“Maybe I don’t,” counters Daryl. Man, he’s so hot when he plays hard ball! Joe notices this too, of course, replies, “Naw, you do, you should be with us!”  Joe’s laying it all on the line, not knowing how badly that this scratch-and-dent sausage party of a group is no comparison to the fine, soulful group Daryl was with before… and Daryl likes girls, dammit, and is in love with Beth...and where the fuck is she?

Look, Joe, your motley crew is rebound, at best...Daryl's in another league, dude...sorry!

Look, Joe, your motley crew is rebound, at best…Daryl’s in another league, dude…sorry!

Joe lays out the basic rules for the band of DTB’s…you just gotta follow the rules: you claim, when you steal, you keel, and you don’t lie, because that is a slippery slope.

While that all sounds good on paper, the chemistry is so not there, but what can poor Daryl do, but go with things, as they are, for now…Daryl asks what happens if the rules get broken, and Joe answers that the offender gets “a beatin’, the severity of which depends on the offense and the general attitude of the day.” It’s a brutal code, not on any level of the caliber of community and humanity that Daryl lived with at the prison.

Joe spots a warehouse, whistles through his fingers, signalling the night’s abode.  Daryl turns to Joe, tells him he “Ain’t no us.” Joe asks him, point blank, “You leaving now?” Daryl answers by not answering…um, no, it’s about to get dark and shit, just sayin’.

“Then it sure seems like there’s an us!” Joe then proceeds to get the last line on Daryl, asks him if he likes cats.  Joe, it turns out, loves cats, has since he was three years old. He tells Daryl that there “ain’t nothing sadder than an outside cat who thinks it’s an inside cat,” before turning and heading into the warehouse.  

Aw, snap, Daryl Dixon, you have just been served The Last Word.

Meanwhile, Glenn, who has divested himself of riot gear and given it to Eugene, is once again steadily charging ahead of the group on the rails.  They have reached the entrance of a dark tunnel that the railway runs through.  At the entrance is scrawled another blood note from Maggie, Sasha, and Bob. It is still wet. “We’re gaining on them,” announces Glenn.  Abraham answers that they sure as Shanghola can’t go over the tunnel.

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Abraham says, “Hear that? That sounds like a long dark tunnel full of reanimated corpses.” Glenn says, “If Maggie went through, I’m going through.”

Abraham says, with some regret, that this is where they part ways. He tells Glenn, “You’re on your own.” Tara steps up, with a limp, says, “No, you’re not.” Glenn looks at her like it’s the first time he’s really seen her, nods to her.

Abraham kneels down, takes a couple of cans of food out and offers it up to Glenn, who declines at first, saying that they will need them…”So will you, ” replies Abraham, and it is Tara who has the good sense to step forward, with pain, and take the offering from Abraham. Abraham then offers up a gun or flare of some kind, which is majorly cool of him…Glenn, truly humbled at this point, takes the offering with silent gratitude.

“Sorry I hit you in the face,” apologizes Glenn.  Abraham answers, “I’m not…I like to fight!”  Rosita comes up to Glenn with a hug and some well-wishes (“Good luck, try not to be an ass.”) and hugs Tara.  Eugene, standing awkwardly in his riot gear, pronounces them as “good people…Tara, you are seriously hot,” causing Glenn to look down, smiling, and Tara to reply that she likes girls, to which Eugene says, “I’m well aware of that!”

Yeah, right, Eugene, like how Pee-Wee Herman “meant to do that!” when he ate it on his bike in Pee Wee’s Big Adventure.

I must say that I am loving Abraham and Co., especially as Abraham offers a Plan B scenario: if Glenn and Tara get into trouble, come back, and Abraham and Co. will double-back to the first road they cross, to meet  up if needed. Yes, thank you, love the plan, Abraham.  Majorly cool of you, know now how you bagged a girlfriend like Rosita.

As they enter the blackness of the tunnel, with only the light of Glenn’s flashlight to guide them, Glenn tries to tell Tara that he knows what she is going through, dealing with the loss of loved ones, the shock…he kind of falters, being a guy and all, but is really trying…I am glad he is being cool, not so selfish.

As they continue on in the blackness, Tara tells Glenn that when “Brian” told them he wanted to take over the prison, she knew it was bad.  When she found her girlfriend, she was dead, her niece, dead, then Tara watched her sister, Lilly, become surrounded by walkers, pounced on…she saw it happen.  Ugh, awful…just maybe a week ago, Tara and her family were alive and in relative safety in their little apartment…and now, they are gone, the collateral damage to a needless massacre, and she is…here, in a dark-ass tunnelfullawalkers. (Drink one if you got one! Am drinking coffee right now, but kind of wishing it were a mimosa.)

Tara recounts the horror of all this, but says that it wasn’t as bad as seeing what “Brian” did to Maggie’s father. Glenn is silent, and somber, as she unburdens herself to him, to the background hiss and slaver of the Tunnel Walkers, further down the line, in the darkness.

Meanwhile, in another dark hole, the DTB’s have cleared the warehouse garage. The cars have been drained of any gas, but Joe asserts that they are getting “closer,” he can feel it.

Then, the DTB’s start “claiming” all the cars around as their own. Each time Daryl approaches a car, some douchebag DTB is there, looking at Daryl and calling, “claimed.” They are all majorly stunted, and Daryl gives up, setting his pack, and himself, on the concrete floor in the center of the garage. Dicks!

Meanwhile, back at the tunnelfullawalkers, Tara and Glenn have come upon a wall of rubble which has come down onto a group of RubbleWalkers, who paw and gape (and drool slime…gruesomely awesome, Nicotero!) helplessly at Glenn and Tara, pinned and stuck in the rubble.

Amazing slime drool moment...love it, love it!

Amazing slime drool moment…love it, love it!

As Glenn shines the flashlight to the ceiling, seeing the spot that caved in from above, Tara feels the blood is still wet…”this must have just happened today.”

Glenn clears a path up the rock wall by spearing walkers through the heads as he climbs up…if not rekilled, how long would a walker last, stuck in the rubble, unable to feed or free itself?

(For all these burning questions, consult Walking Dead Wiki:

http://walkingdead.wikia.com/wiki/The_Walking_Dead_Wiki

Usually, I would look this up for all of us, but a combination of the kids’ spring break, plus computer-crashing difficulties, has put me way behind deadline, so I will forge ahead…we will def discuss that topic, walker lifespan, etc., another time!)

From the top of the rubble heap, Glenn shines the flashlight, sees with relief none of the Tunnel Walkers is Maggie…despite being outnumbered, and out of ammo, Glenn wants to push through…

Tara's like,

Tara’s like, “Boy be crazy loco in love…but am I crazy enough to go along with this?”

Meanwhile, Abraham and Co. are checking abandoned cars on the road, seeing if any are driveable.  Abraham spies a promising minivan, only to discover it is currently occupied…by Soccer Mom Walker:

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Soccer Mom Walker on Board!

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Me so hungry!

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One minute I’m driving my son to soccer practice, then, chomp, I’m a freakin walker…

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Abraham does her a solid rekill…

Abraham gets in the minivan, and it starts.  While Rosita and Eugene bicker over the map, and the rights to shotgun/navigator, Abraham sees a sad note written with a finger onto the dusty windshield:

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“Let Momma Be”

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Abraham puts the wipers on that one…

It’s a super comedic moment as Eugene  pleads his case for navigator, despite having messed the job up again and again in the past…

After a humble “Please?” doesn’t do it, Eugene tells Rosita that he cannot abide the thought of a world where she would be chosen as navigator over “a son of the south, who has sucessfully negotiated the travails and vagaries of journeys both real and virtual.” 

Ha! Even Rosita can’t keep a straight face, or refuse, that one.

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“Ok,” Rosita relents, slapping Eugene’s chest up with the map. “We’re going north, got it?”

It’s a good thing that Eugene seems to have his own ideas about where they are headed, because back at the dread tunnelfullawalkers, Glenn and Tara are getting in deep shit.  As the tunnel walkers begin to figure out how to get over the rubble wall to chomp that fresh meat they saw on top, Glenn and Tara try creeping around the occupied horde…until Tara stumbles and gets her foot caught in the rocks.

Luckily, Eugene has done the calculations, and lands the minivan right at the other end of the tunnel, just as Glenn and Tara would be coming out.  Rosita calls Eugene a liar, but Eugene refutes this, saying he never said he was taking them north.

“After I save the world,” pronounces Eugene, “I still need to live with myself..I’m not leaving them behind.”

As he steps out to go rescue Glenn and Tara, Eugene sends the seat back into a sleeping Abraham, who jolts awake with some choice expletives.  When he sees what’s happening, he turns to Rosita, and they go back and forth in a couple’s spat, until Eugene tells them, um, guys…look!

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Meanwhile, at the Douchebag Garage Hotel

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Daryl’s thinking…and Len’s making a big show of looking for his rabbit half…

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…so he accuses our man, Daryl Dixon, of taking it.

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Daryl sez no way, you’re the only one who still cares about that shit…

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Len sez empty your bag, and tries to grab it from Daryl…bad move, Len…remember I said “Later for you, Len?”  Well, it’s later…

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…because Joe, ever guided by his ever-present Daryl-boner, steps in, and although he finds the rabbit half in Daryl’s bag, he doesn’t quite believe that Len’s “cowardly cop” ways didn’t creep in and plant the rabbit in Daryl’s bag…

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Daryl looking hot, taking it all in…good thing his experience with hanging around douchebags is keeping him on his toes…

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Joe: Did you plant the rabbit?  Len: No…

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Joe starts the beat down, urges the “gents” to finish the job…seems he saw Len plant the rabbit, let Len dig his own grave…

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“He lied…you told the truth. You know the rules…he didn’t.”

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As the “gents” kick Len to death, Joe tosses Daryl the other rabbit half…“Hey, seems like you got the front end after all!”

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Daryl knows he’s gotta get the fuck away from these guys…sooner than later.

Back at the tunnelfullawalkers, Glenn is trying in vain to free Tara from the rocks…the walkers are coming around the corner, see them…Tara urges Glenn to go, to leave her, but he refuses to leave her.  I love Glenn in this moment, when he yells, “No!” and makes his stand against the oncoming walkers…he shoots his last three bullets, and is ready to take them on, one by one, when a light shines in his face and a voice yells to “Get down!”

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Who is that??

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The calvary has come to save the day!

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Abraham and Co. has some new members…

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Take that, Tunnel Walkers!

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Could it be…?

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Emerging from the light, in all her magnificence…

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Maggie!

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YES!

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Glenn and Maggie! So awesome!

Later, Glenn is staring at Maggie, unbelieving…“You’re so beautiful,” he says. Ummm, yeah!  The introductions are made, Glenn telling Maggie he met Tara on the road, and she helped him, that he couldn’t have done it without her.  Maggie smiles gorgeously at Tara and hugs her, surprising and disarming Tara.  Of course, Glenn can’t get all into it now, about Tara and her true story, but I am left wondering if he will ever tell the full truth to Maggie…I guess we’ll see, won’t we?

Meanwhile, Sasha and Bob are tripping on the Eugene Saving the World story…Abraham is pitching the idea that the eight of them all join forces to get Eugene to Washington.  Tara tells them she’s in, that she is going to go help Abraham and Co., but Eugene overrides this, telling them that he feels they should continue to Terminus and see what supplies they have, and continue on their mission from there.

Rosita agrees, adding that they may be able to recruit others for the mission.  Sasha offers to come help Team Eugene get to Washington, but only after she checks in and sees Terminus. She must see if Tyrese is there.  Bob chimes in, says he is in on both counts, as well…he and Sasha look at each other.

Later, Maggie finds the polaroid that Glenn took of her sleeping and goes to burn it, telling Glenn that he’ll never have just a picture of her to look at, again:

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So dark and sexy these days, Maggie!

The next morning, the DTB’s are filing out of the Douchebag Garage Hotel.  Daryl is horrified to see Len’s body, dead and bloodied, with one of Len’s long shitty arrows sticking out of his head:

Later, Len.

Later, Len.

Daryl tries to salvage a sheet to cover the body with, but it is so bloody and full of holes, he just throws it to the ground and continues walking.  Beth would want to cover it, but who can blame poor Daryl for not having the energy to bother, right now. Some time down the line, he takes a sip from Joe’s flask, remarking how he hadn’t gotten lit at dawn since before everything fell apart…

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Joe’s response to this is that he feels everything has fallen together, as this kind of world supports the code that a group of men like them live by...survival.

The men stop at a Sanctuary sign, and Daryl is surprised, having seen this for the first time.  You can see the wheels in his head turning.  He asks Joe about it, Joe replying that Sanctuary is a lie, that there is no sanctuary for all…even if there was, it’s not a place that would embrace the likes of them with open arms.

Joe tells Daryl that he and the DTB tribe have been tracking whomever was hiding in the house they found, strangled their buddy, Lou, and left him to turn and attack them. Daryl asks if anyone saw this person, and Joe tells him that only Tony saw him. They are following this person to Sanctuary and will get their revenge, which, judging from the way they punished Len, would be brutal and savage, indeed.

I don’t know if, in this next scene, if Daryl calls “claimed” suddenly to divert the DTBs’ attention, but he does, as he scoops up a radish growing by the rails and puts the radish in his bag. As the men walk off, we see the Big Cat wrapper that Carl left on the tracks a day earlier…gulp!

The ending scene shows Glenn and the crew approaching the gates to…

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Terminus!

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Cautiously, they open the chained, but not locked, gates and enter… walk past garden boxes with vegetables, sunflowers growing…

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They see a woman, cooking…she turns, smiles, introduces herself as Mary…bids them come in, they will get them some food...”Welcome to Terminus!”

All I can say, people, is the only thing I know for sure…shit’s gonna go down in the finale…staying strong, keeping needed coping mechanisms on hand…until then, be happy, be well, send love to our WD peeps, and enjoy the playlist!

Playlist:

Unnatural Helpers, “Shakes”

Fleet Foxes, “Mykonos”

Samiam, “El Dorado”

The Walking Dead, Season 4, Episode 14, “The Grove”

“The Grove”

(All images used in this post are screen caps from AMC’s The Walking Dead, unless otherwise specified.)

Well, people, we have much to discuss, don’t we, with The Walking Dead’s Season 4, Episode 14, “The Grove.”  For those WD fans who have been touched with a bit of the ennui regarding the last couple of weeks’ storylines. we got a bracing slap-up with this latest installment, written by Scott M. Gimple and artfully directed by Michael Satrazemis.

The opening scene of “The Grove” is a spare, haunting one.  It opens with a close shot of a copper tea kettle on the stove, a gas flame burning under it…at first, it made me think it was a flashback of days past, at the beginning of the turn, perhaps…

The shot pans left to the open window, where a clean white curtain dances in a gentle breeze.  We hear the sounds of girl’s laughter outside, and we see through the window’s pane what appears to be Lizzy running playfully around a tree. We lose the figure for brief moments, as she disappears behind the tree or the window frame, then reappears…and then we see, through the window, that there is another figure, but this figure does not run and dance like a young girl…this figure lurches and grabs at the young girl, who evades her easily, laughing.

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“C’mon, Griselda!” we hear Lizzy’s voice beckon, when the walker stops at one point, having lost dim sight or sound of the girl…at the sound of Lizzy’s voice, the walker woman lurches again towards her, getting closer and closer, as Lizzy laughs, dances around the walker…the tea kettle on the stove starts to whistle, piercing through the dreamy, surreal quality of the old timey song that plays somewhere in the house, and the grotesque dance that is happening outside the window, in a sunny grove surrounded by pecan trees.

Cue the Bear McCreary opening title sequence...

Cue the Bear McCreary opening title sequence…

In the next scene, it is night on the  train tracks, near an overpass. Carol sits, holding Baby Judith while Lizzy sits beside her. Mika and Tyrese are curled up on the tracks, sleeping. Carol smiles at Lizzy and tells her it’s ok, Lizzy can go sleep. Lizzy replies that if something happens, she can take Judith.  “I can help,” says Lizzy, looking straight at Carol.

Carol smiles wryly. “You really think you can help me?”

“I know I can, m’aam,” Lizzy replies.

Lizzy then tells Carol how she saved Tyrese by shooting two people, a man and a woman, who were coming for Tyrese in the final prison battle. In remembering this, Lizzy looks down, regretful, “I didn’t mean to shoot her (Alicia) in the head.”

Aside from the opening shot, this statement by Lizzy is the first suggestion in “The Grove” as to how deeply Lizzy’s sympathetic feelings for the walkers really go, as shooting Alicia in the head would prevent her from reanimating into a walker…and for Lizzy, this is a bad thing.

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By this point in the watching, it was like, seven minutes into the total episode, and I had already experienced two or three “Holy crap!” moments…is this what it feels like to be Gimple-slapped? I think so!

Lizzy asks Carol if she had a kid…Carol tells her about Sophia, how Sophia “didn’t have a mean bone in her body.”

“Is that why she isn’t here now?” asks Lizzy, astutely.  Carol regards her, nods, “Yes.” Lizzy asks Carol if she misses her daughter.  “Every day, “ Carol replies.  Lizzy asks if Carol would miss her.  “I won’t need to,” Carol answers, then tries to send Lizzy to bed again.  Lizzy is quick, however, and she sneaks in a goodnight hug before Carol can protest or raise her defenses again:

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In his sleep, on the tracks, Tyrese whimpers, in the grip of a bad dream…

The next morning, Carol is tending to Tyrese’s wound.  Lizzy has found some type of pine sap, which Carol collects with the blade of her knife and applies to Tyrese’s wound to fight infection and bring down fever.  Tyrese asks Carol how far she thinks they are from the Terminus station, the site of the supposed Sanctuary…three days out, four? Carol is not sure…Tyrese then comments on how tough Lizzy is.

“Yeah,” says Carol, “when it comes to people.” When Tyrese asks her what she means by that, Carol tells him that Lizzy is confused about the walkers, that she doesn’t see them for the threat they are…she just sees them as being different.

Tyrese looks over at Mika, who is holding Baby Judith, and asks Carol if she, Mika, is the same way. “No,” replies Carol. “She’s worse…she doesn’t have a mean bone in her body.” It is what she said about Sophia, before, and why Sophia didn’t survive.

Later, as they walk along the tracks, the girls and Carol pass the time talking about the adventures of Huck Finn and Tom Sawyer. Mika asks if the story had a happy ending. At first, Mika likens herself to Huck Finn, but Lizzy interjects that she feels Mika is more like Tom Sawyer.

“Yeah,” Mika agrees easily, “You are way more like Huck Finn...you aren’t even grossed out by dead rabbits!”  Lizzy shoots a look at Mika, makes the “zip it” sign with her mouth. Mika’s spilling Lizzy’s crazy deets, but the adults don’t notice.

A little ways down the tracks, Carol and Tyrese smell a fire, smoke…it smells like a big one.  (Could it be the house fire that Daryl and Beth set?  On Talking Dead, Chris Hardwick and the guests speculated on this possibility…I really do think the fire and smoke plume in this episode is from the cabin that Daryl and Beth torched.  It seems like the kind of detail that Kirkman, Gimple, and Co. would add to an episode already rich with layers of meaning, nuance, and surrealism.)

Back at the tracks, Carol volunteers herself and Mika to go on a water run, suggesting that Tyrese stay back with Judith and Lizzy.  Tyrese takes Carol’s advice and hangs back at the tracks, playing “I Spy” with Lizzy…there’s not much to see, besides trees and weeds, until it’s Tyrese’s turn, and he spies…a walker, some ways down the tracks, but lurching towards them.

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Tyrese hands Judith to Lizzy and grips his hammer, striding down the tracks towards the walker, ready to take care of it…the walker falls through a weak part of the track and is stuck…Tyrese approaches it, ready to finish it off, when Lizzy rushes up to him, carrying Judith, and stops him. “Sometimes we need to kill them, but not always, “ says Lizzy.  Judith begins to cry, and Tyrese looks down at the stuck walker, and relents to Lizzy’s wishes:

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Don’t kill him, Tyrese…he’s my little friend! Look how cute he is!

On the outing, Mika points out that Lizzy would be able to carry more water, and Carol admits to her that she wanted to take the opportunity to talk to Mika.  When Mika asks her why, Carol tells Mika that she’s little and she’s sweet, “And those are two things that can get you killed.”  Carol goes on to say that while Mika can’t change her small size, she can start to “toughen up” and adapt to the ways of the new world order.

Mika disagrees, saying that she doesn’t need to toughen up, that she can run, and she’s good at running.  Carol stops, grips Mika’s arm. “No,” Carol says, “My daughter ran, and it wasn’t enough…that’s why I taught the kids at the prison to do more than that.”

(Now, I knew on many levels that this was why Carol was being so weird about teaching the prison kids the art of the knife kill, back in the day, but in this episode, we WD fans got many lingering questions answered, and after the watching, I felt a lot clearer about Carol and why she was being so weird and crazy then.

And, btw, in WD time, “back in the day”, when Carol was teaching knifery to the prison kids, that was maybe only like a week ago, right?   Maybe not even a week? Ten days, tops?

Honestly, this whole crazy fourth season has taken place in about a week’s time, if I am calculating correctly, excluding the detour episode into the Gov’s story…please send me a line if I am wrong about this, but am I?

Let’s see…the explodey flu hit, then Patrick died and became Patrick Walker, led a walker riot at the prison…peeps died, peeps became infected with flu, Daryl and the crew made the Vet School Meds Run, while Rick sleuthed Carol’s double-homicide, led her away on the pretext of a goods run, and banished her from the prison with a lovely parting gift, a fully stocked car with a full tank of gas…Rick came back solo (with a lovely parting gift of his own, Carol’s watch), broke the 411 to Maggie, then Hershel, before the prison broke out into another round of walker mayhem.

Then, Rick and Carl shared a father-son walker mow-down moment while Hershel, Maggie, and the at home peeps held down the prison and goodness prevailed, for a moment, anyway…Daryl and the gang returned from their road trip, delivered the meds, and started getting them into sick peeps’ bloodstreams stat while Hershel and Michonne got themselves into an unwanted and much-hated hostage situation with the Gov.

Rick had the dreaded Daryl Conversation, and was about to have the even more dreaded Tyrese Conversation, when they were rudely interrupted by the Gov’s tank blasting a hole into the prison walls…war broke out, the prison got ruined, and everyone who didn’t get killed, scattered…now everyone’s having their own story, with most trying to get to Terminus...and this all happened in about 5 – 7 days’ time, if I am figuring correctly.

Am I right or wrong about this?  Chime in, people…inquiring minds want to know!

If I am right, that is pretty much The Shittiest Week Ever, maybe taking second place to the first week of the zombie apocalypse, where everyone’s lives they had before, and many of their loved ones, were lost forever.)

Anyway, Carol is giving Mika her life-or-death “toughen up” speech, while Mika is holding her own and making a strong case for her belief system, which is falling somewhere in the realm of pacifism and vegetarianism, which I totally respect…but do not fully practice, myself.

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Mika explains her position. “I can kill walkers…I mean, I’ve tried. I’m not like my sister…I’m not messed up.  I know what they are. But I can’t kill people…I could never do that.”  Mika goes on to tell Carol about how the bad people at the prison were right in front of her and Lizzy, and how she, Mika, held up her gun…but couldn’t pull the trigger.

“Killing people is wrong,” asserts Mika. She brings up Karen and David, how somebody killed them…and they were nice. Carol’s mouth, at this, (the first of several in-your-face, Carol, moments in this episode) sets in a tight line as she asks, “What about people who try to kill you?”

“I don’t even wish I could (kill them),” Mika replies.  Carol bends down to get on Mika’s eye level. “People came in and killed our friends,” she says to Mika, emphasizing every word, looking Mika right in the eye.

Mika’s look back is unwavering, her reply immediate, ” And I feel sorry for them.”

Carol’s brow furrows at this.  “Why?” she whispers, genuinely puzzled.

“Because they probably weren’t like that before,” replies Mika. She turns and continues down the wooded path.

As she follows Mika, Carol keeps on. “Sooner or later, you’ll have to do it…you’ll have to do it, or you’ll die….you have to change, everyone does now. Things don’t just work out.”

And at this very moment, the two turn a slight right and walk right into the opening of a stately old pecan grove, with a quiet country home nestled in the center.  It looks peaceful and immediately inviting.  “Look!” exclaims Mika.  She turns to Carol, beaming. “My mom used to say, everything turns out like it’s supposed to.”

I really love Mika in this episode...in Star Wars, she would have been a padawan, a young Jedi in Yoda's training...Lizzy, on the other hand, would have def gone to the Dark Side and been one of the Emperor's disciples

I really love Mika in this episode…in Star Wars, she would have been a padawan, a young Jedi in Yoda’s training…Lizzy, on the other hand, would have def gone to the Dark Side and been one of the Emperor’s disciples

As they all approach the home, walking through the peaceful pecan grove, Carol pulls back a spare, but sturdy, barbed wire half-fence that surrounds the house and yard. “Maybe we can catch our breath here,” suggests Carol.  Lizzy asks if they are still going to Terminus, and Carol replies that maybe they can stay a day or two before moving on.  It seems like an ideal plan, as there is a well full of water, fences, deer that can be hunted, and pecans…as Tyrese says, “You can eat your fill, and then some!”

Mika seems very stoked on this. “I love pecans!” she exclaims, which is a good thing, as nuts are a key protein source for vegetarians.

Lizzy, of course, being a disciple of the Dark Side, spots the large black plume of smoke coming up from the distance, over the tree line…it is a foreshadowing of trouble to come, a course of events unwittingly set into motion, most likely by two wild young people on the run, and falling in love...ouch, Carol, I feel that arrow to the heart for you, girl, but that little killing episode was a total dealbreaker…sorry…sux 4 u. 

Carol suggests they leave the hole in the fence for the deer to come through and, “play it really safe here.”  It’s a good plan, and I am giving Carol mad props for mentally multitasking like a motherfucker right about now.  She’s got the goods.  The New Carol would have kicked Ed’s ass good, and busted a cap in his mean mug, before he ever got a chance to lay another hand on her.  That thought gives me a lot of satisfaction.

Carol and Tyrese approach the door to begin the process of “clearing” the house…they order the girls to stay outside, where they are sitting, Lizzy holding the baby and Mika holding the gun. Carol has deliberately put Mika in charge of this, to force her to shoot to protect if necessary, and desensitize her from all that pacifistic nonsense.

As they rap on the door and go inside, Lizzy begins to look more and more distressed, which Mika notices.  She tries to reassure Lizzy that Carol and Tyrese will be fine, but Lizzy isn’t worried about Carol and Tyrese…she’s worried about the walkers that will surely get killed if found inside.

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Mika and Lizzy get into it, Mika starting to lose her patience and yell at Lizzy that the walkers are not people, when Ol’ Farmer Walker comes lurching out of the house and pitches over the porch railing, landing him right in front of the girls and the baby. He begins to claw his way towards them, and Lizzy falls while trying to back away, clutching Judith and screaming in terror while poor Judith wails helplessly.

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I’m sure at one time, he was a very nice man, living a quiet living on his pecan grove, in his lovely home…

...but nowadays, Ol' Farmer Walker be scary!

…but nowadays, Ol’ Farmer Walker be scary!

Mika fires upon Ol’ Farmer Walker, but it is Carol and Tyrese that finish him off.  This sets Lizzy into a real fit of despair, which Carol cannot understand and is growing impatient with, as she keeps asking Lizzy what is wrong.

Lizzy responds that she doesn’t want to say, and turns away.   Mika fixes Carol a look, like, “What are you, new?” before going after Lizzy.

With the practiced air of someone who has done it many times before,  Mika first apologizes to Lizzy for yelling at her, then puts her arm around Lizzy’s shoulders, quietly urging Lizzy to look at the flowers, focus on the flowers, and count, and breathe.

A troubled Tyrese and Carol look on, as Lizzy and Mika breathe and count together, and Lizzy begins to calm, while the Bear McCreary music twists and turns in the background like the unraveling of Lizzy’s young mind…

Just look at the flowers, Lizzy...focus on the flowers...

Just look at the flowers, like you’re supposed to…

Later, in the evening, Carol and Lizzy are sitting at the kitchen table, shelling pecans. Carol asks Lizzy if she is still upset, and Lizzy tells her that sometimes she doesn’t understand (why the walkers must be killed), “but I am trying to, m’aam, I really am.” Mika runs up to them, beaming and clutching a sweet rag doll with long red yarn ponytails.  “Look what I found!”  Mika exclaims, showing them the doll.  “I’m going to name her Griselda Gunderson!

And with that pronouncement, Mika flounces onto the living room rug to play with her new doll. There is a cozy fire burning in the fireplace, and Tyrese cannot seem to comprehend this long-forgotten feeling of home, and hearth, and comfort.  He remarks on this as he looks around, dazed at the coziness and warmth and feeling of family in the room.

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Whoa…I forgot what this is like…

Mika, ever the sage, tells Tyrese to chillax, stay awhile…

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And then Mika plants the seed in Tyrese’s head by suggesting, “We should live here!”IMG_4107So, Tyrese abides.

The peaceful family feeling is short-lived, because the next scene is daylight, through the kitchen window, with the whistling copper kettle and the macabre game of Walker Tag between Lizzy and her new bestie, Griselda Walker, which Carol spies, disbelieving, through the window.  She rushes out, ordering Lizzy away from her grisly version of a newfound doll, Griselda Walker:

No, no, Carol, Griselda's cool...really! We're new besties!

No, no, Carol, Griselda’s cool…really! We’re new besties!

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“Get away from that walker this instant,  young lady!”    “Noooo, Carol, noooo, don’t hurt my BFF Griselda!  Griselda’s cool, it’s cool, she’s cool!”

Carol, of course, must lay down the tough love, and the blade, into Griselda Walker’s skull, inciting a full-on-fucking-freakout by you-know-who…

“Noooooo! You killed Griselda!”

“She was my BEST FRIEND, and YOU KILLED HER! What if I killed you, huh? What if I KILLED YOU?

“Griselda!” <sob!>

Carol is processing the wack attack...this is way more than teenage hormones at play...this is full-on crayzee!

As Carol, and Tyrese (who looks on from the window) process Lizzy’s full-on wack-attack, it’s pretty apparent that Lizzy is Cuckoo for Cocoa Puffs…and Carol suddenly has a splitting headache.

Later, Carol and Mika go out together, Mika carrying a shotgun. They see the black plume of smoke over the treetops, and Mika says black smoke means the fire is still burning…she learned that in science class.  “I miss science class,” she sighs, excepting when they made the students cut up planeria worms.  What an adorable little nerd she is!

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Carol tries to work the “toughen up” angle again with Mika, saying that these days, she’ll have to do a lot worse than cut up planeria worms.  “I don’t gotta,” Mika replies. (Pretty much one of my favorite lines, ever.)  Carol tells her that while Lizzy is bigger and stronger, Mika is smarter about things, that she understands about the walkers while Lizzy doesn’t. “Look out for her,” pleads Carol.  Carol then spies a young deer in the glenn.

“Go on,” she urges Mika, trying to get her to bring down the deer. “Just like I showed you.”  Mika raises the rifle and aims…

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…and then lowers the gun…

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“Nah, can’t do it.”

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She then gives Carol this sweet look and says, “We have peaches!”

Later, Tyrese is pumping well water into a bucket, with Carol. He’s been thinking, tells Carol that maybe they don’t need to go to Terminus, that maybe they can make a life here, at this house. Tyrese is thinking maybe they should stay there.

“I know Lizzy and Mika…I know Judith…I know you, I trust you,” Tyrese says to Carol, who looks down for a moment at these words. Tyrese continues, “I don’t know if I can get that anywhere else.”

Tyrese continues to look at Carol with a sweet, open look.  “We can stay here…we can live here.”

Meanwhile, back at the house, Mika is calling for Lizzy. She sees Lizzy slip off in the back, towards the stables.  She follows Lizzy to the railroad tracks, walks up just after Lizzy pulls a mouse from a box and, holding it by the tail, hand-feeds it to the stuck railroad walker.

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Yum, yum! On Talking Dead, they said the WD effects crew made an edible prop mouse for the walker actor to actually eat, grape jelly in a gelatin casing.

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On the tracks, poor little Mika really tries to reason with her crazy sister, telling her straight up that the walkers are bad, that they want to kill her, that it’s time to stop pretending things aren’t as bad as they really are. Lizzy continues to tell her sister that nobody understands, that the walkers are talking to her, and she thinks they want her to be like them.

“Maybe I should become like them,” Lizzy muses as she holds her hand out to the stuck walker, who tries to chomp at her fingers. I can make you all understand.”

Then, the rustle of nearby bushes heralds the coming of…The Char Walkers.

The latest gift to WD fans from Nicotero & Co., The Char Walkers look like black, smoking demon aliens from some heavy metal planet in the farthest reaches of the universe...

The latest gift to WD fans from Nicotero & Co., the Char Walkers look like black, smoking demon aliens from some heavy metal planet in the farthest reaches of the universe…

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The Char Walkers come lurching down the tracks after the girls, who make it to the barbed-wire fence, screaming for Carol and Tyrese…Lizzy gets through, while poor Mika gets stuck in the wire.  To her credit, Lizzy pulls Mika to safety after a close call with a particularly grabby walker.

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The girls scramble to get their guns and help Tyrese and Carol shoot The Char Walkers in a great walker kill scene that had Jon Sanders, a WD effects specialist, grinning from ear to ear as he recounted the fun they creating the effects of the walker’s brains and bodies getting blown away in a pyrotechnic display of flaming bits of brain and brawn:

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That night, as Tyrese dozes in the cozy armchair in front of the fireplace, Carol and Lizzy once again sit at the kitchen table together while Mika plays with her rag doll, Griselda Gunderson.

Lizzy is staring morosely, and breathing kind of funny, and Carol asks her gently if she is still upset. Lizzy chooses her words carefully, saying that she knows she needed to help with the walkers earlier. It seems Lizzy is upset about killing the walkers, but she also seems like she may be getting it, finally.  It seems that way, anyhow…

Carol asks her if she understands now what they really are. Once again, Lizzy chooses her words carefully, saying that she knows now what she must do. Carol, of course, interprets this as Lizzy finally getting it, that the walkers are a threat and need to be dealt with as such, but Lizzy’s true meaning is much more sinister than that.  Mika pipes up, saying she doesn’t want to kill, she doesn’t want to be mean…Lizzy turns to her sister and looks at her significantly, and says that you only need to be mean sometimes…nobody of course guesses the true import and meaning of her words.

In his armchair, Tyrese tosses and mumbles, in the grip of another bad dream.

The next morning, Carol and Tyrese are walking together. Carol turns to Tyrese, tells him that she’s on board with staying at the farm, of setting up a life there.  Tyrese seems glad to hear this. He says that maybe someday they can continue on, to Terminus, but right now…right now, he is not sure he can be around other people, around strangers.

As he says this, Tyrese leans heavily on a tree…and begins to talk about Karen. He dreams about her every night, and even though the dreams change (in some they are just talking, and in some he actually sees someone kill her, some stranger.) Tyrese wakes, each time, with the feeling like he’s just lost her all over again.

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Poor Carol’s face, as he talks! Melissa McBride delivers another amazing performance, as Carol’s face shows her conflict, and regret, and sorrow, at Tyrese’s words.  At one point, she even turns to Tyrese, about to confess…but, thankfully, she cannot bring herself to do it.

My WD buddy said later, of this scene, that it was good that Carol waited to confess to Tyrese…we both agreed that the outcome would have been way different if she had told him then, in the grove.

Instead, sweet Tyrese tells Carol  she shouldn’t be ashamed about who she is, and gives her a hug…damn, you know she’s feeling like shit right about now.

And then, it becomes…awful. Carol and Tyrese come back to the house to find Lizzy in the front yard, her hands covered in blood, holding a knife. Mika lay dead behind her, while Judith is having some tummy time on a blanket beside Mika’s body.

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As Carol approaches, and reaches for the knife, Lizzy tells them to wait, she’ll change, that she, Lizzy, didn’t hurt Mika’s head or her brain. “Just wait, you’ll see, she’ll change,” Lizzy insists. This is what she has decided must be done to have them see, finally, what she sees about the walkers.  When Carol reaches again, Lizzy pulls out her gun, to hold them off and give Mika a chance to “change.”

When Carol suggests to Lizzy that Tyrese take her and Judith inside, as being out there wouldn’t be safe for Judith, Lizzy tells them that she was about to…take care of Judith, so she could change, too.

“She can’t even walk yet,” points out Carol, who is somehow able to keep calm and talk quietly, and reasonably, to Lizzy without being too confrontational in this moment.  Lizzy nods, understands, has an, “Ok, I’ll wait until she’s older” air about her.

Lizzy agrees to go inside with Tyrese and Judith only after Carol convinces her that she will stay outside to tie Mika up, you know, so she won’t go anywhere. “I’ll use her shoelaces,” suggests Carol, putting on a brave, bright smile and blinking back her tears.

A shaken Tyrese leads the girls inside, and Carol breaks down, crying over little Mika’s body.  She pulls her knife out, tears running down her face.

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Poor Carol!

Later, Carol sits at the kitchen table, staring ahead, while Tyrese tells her that he fed Lizzy and cleared her room of any knives or weapons.  He found a box of mice in her room, and learned that she was the one feeding rats to the walkers at the prison, and that she was also the one that opened up the rabbit’s body and nailed it to the board. She told him was “having fun” with it.

Tyrese, who is looking majorly shell-shocked and creeped out at this point, wonders aloud if it was her that killed Karen and David…but how could she drag the bodies out?

Carol stares down at the table. “She would have let them turn,” she says. “It wasn’t her.”  It’s like Carol really doesn’t even give a shit about that crap right now…she’s got other, more pressing things to worry about in the moment.

Carol tells Tyrese that Lizzy was like this before, that it was already there…she blames herself for not seeing it sooner. She offers to take Lizzy, herself, to keep her away from others. Carol says she won’t be able to sleep with Lizzy and Judith under the same roof. Lizzy is clearly a threat to Judith.

Tyrese tells Carol they’d never make it…he offers to take Judith, but Carol tells him the same thing, they’d never make it…they look at each other.  Carol says, slowly and deliberately, “She can’t be around other people.” She looks at Tyrese, who looks back at her, pained.  Carol wipes away tears.

There is nothing more to say.

Later, as Tyrese looks on, out the window, Carol and Lizzy walk together in the grove, away from the house. Lizzy looks happy and at ease, taking big, high steps over the wildflowers and looking up at Carol fondly.  Carol is keeping it together, saying that they should pick wildflowers for Mika, for when she comes back.  Lizzy agrees that Mika would love that.  Carol soon after begins to break down, and Lizzy becomes upset, distressed at the thought of Carol being mad at  her.  Crying quietly, Carol tells Lizzy to “look at the flowers,” that she, Carol loves her.

And as Lizzy looks at the yellow flowers at her feet, crying, Carol, crying, lifts the gun and pulls the trigger.

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As Carol walks back to the house, she sees a deer in the glenn. She looks at it for a moment, before continuing on to the house. The next shot is of Carol digging, with Tyrese carrying Lizzy’s shrouded body and placing it gently on the ground, beside the newly dug grave.

Later, sitting at the table with Tyrese, Carol has had enough. She confesses to Tyrese, “I killed Karen and David…it wasn’t Lizzy, it wasn’t a stranger…it was me.”  She continues to tell a shellshocked Tyrese that he can do what he needs to, but she was only trying to stop the spread of the disease to the others at the prison.  It takes Tyrese a moment to recover himself…

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But, after he is assured that Karen didn’t know what was happening, or feel pain, or fear, he tells Carol he forgives her…he will never forget, but he does forgive, as he knows what she did is something she feels, and is a part of her, as it is a part of him.  “I forgive you,” he says, and Carol quietly thanks him.

Tyrese says they can’t stay, not now.  The parting shots of Episode 14 show the empty house, the kettle, the armchair, the ragdoll lying at the edge of the cold, ashened fireplace…Tyrese and Carol, with Judith on Tyrese’s back, walk through the grove, away from the home and life that seemed so promising, and down the tracks towards Terminus, as the voice over is of Carol and Lizzy’s conversation, back at the prison:

Lizzy: “I am not afraid to kill…I am just afraid.”

Carol: “You can’t be.”

 Lizzy: “How?”

Carol: “You fight it…you don’t give up, and then one day, you change…we all change.”

It’s been a crazy episode, and a crazy week, all around…so, for this week’s playlist, it seems fitting to feature songwriters who say it, and play it, in a way that nobody else can…enjoy!

Playlist:

Modest Mouse, “Dramamine”

Jose Gonzales, “Down the Line”

The White Stripes, “The Hardest Button to Button”

Iron and Wine,  “Upward and Over the Mountain”

Season 4, Episode 13, “Alone”

“Alone”

(All images used in this post are screen caps from AMC’s The Walking Dead,  and HBO’s True Detective, unless otherwise specified.)

 Alright, alright, alright! 

I need to address the first part of this post to the True Detective finale haters out there…not a confrontation, mind you, just a conversation, without spoilers, to maybe address some of the pent-up angsters who are spewing online hate-rant about the TD finale,“Form and Void.”  My intention with this brief detour into the world of TD is to merely open up a dialogue, explore an alternative perspective, and possibly redirect some of that hater energy to more positive and productive channels.  If none of that works, that’s cool too…just get meta with me for a minute, won’t you?

I am not saying it’s my job to make the hater peeps like the official ending of the True Detective finale episode, “Form and Void.”  Everybody has his, or her, opinion about things, and I am not trying to challenge that.  I am merely offering a few ideas about the finale episode and the concept of “resolution” within the realm of its ending, and how this concept of “resolution” may relate to the original, eight-episode True Detective series.

So, if you want to play along, keep reading.  However, if you tuned in soley to read about this week’s episode of The Walking Dead,, and you have not seen True Detective yet, or the TD finale, and you don’t want to join our brief TD discussion, merely soften your gaze and scroll down to the awesome picture I got of Matthew McConaughey, as Rustin Cohle, smoking the shit out of a cigarette…after that picture, my WDO darlings, we will begin our discussion of “Alone,”  the thirteenth episode of the fourth season of The Walking Dead, I promise…and thanks for being patient!

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Now, for the rest of you…if you have watched the True Detective finale and are left wanting, or unsatisfied, my first question would be, “Why?”  I am not asking to be a dick, but I would be truly curious to hear, or read, what the individual responses might be, to find out what each person was wanting the True Detective finale episode to provide, or resolve, within the story line and for the viewer.

I keep using the word “resolution” because I have heard, and read, the word used repeatedly in the TD finale hater rant…one young scenester that my WD buddy works with told her, I kept screaming at the screen while I was watching it…there was no resolution!  

First off, I know many TD fans were disappointed to learn that Matthew McConaughey would only be appearing in the original eight-part series, and not returning for a second season as Rustin Cohle.  Some of my friends who were privy to my many Facebook and Instagram posts of Rust Cohle pics over the past couple of weeks were sure that I would be among those who were disappointed…but, I am happy to say that I am not.

Matthew McConaughey just won an Oscar, people…it is pretty amazing that he, and Woody Harrelson, deigned to be in an HBO series at all.  McConaughey, who originally was asked to play the role of Martin Hart, loved the TD script and the character of Rust Cohle so much that he agreed to be in the original eight-part series, but only if he could play Rustin Cohle.

Sorry, kids, but it is not realistic to think that he and Woody Harrelson would keep it going as Rust and Marty six or more seasons later. The original True Detective eight-part series is a finite event, a standalone complex. We must take it as it is.  This begs the question:  Does a series need to go for six or seven seasons just to tell a story?

(Forgive my impertinence, Kirkman and Co., for the above comment…may you, and WD, and all our favorite WD characters, live long and prosper for many seasons to come!)

Maybe I am old-school enough to love the old-fashioned mini-series genre, and I am happy to hang with eight episodes of McConaughey and Harrelson.

I am definitely old-school enough to love the concise, exacting art form of the short story.  If a short story is well executed, there is no room for extraneous verbage, characters, or storyline…every line, every scene counts.

In our age of social media, where the sharing of our latest selfies, random thoughts, or clever links to all our Facebook friends counts as a creative act, is it any wonder that the concept of keeping a story spare, taut, and undiluted seems a little strange…lame…anticlimactic, to those who are attuned mostly to the whimsy of pop culture and social media?

Ok, so what I may call classic, you may call lame and stodgy…alright, alright, alright!  

(I do promise to stop doing that, but it’s so fun!)

As I was saying, it’s cool with me if we don’t agree on this. As someone who has always been obsessed with pop culture, I can understand what may be making the young, edgy, and discontented among us so restless with the TD finale ending. You wanted something…else, right? Something more CSI, perhaps, dramatic, with more gunfire and explosions? More scars?  A character holding up a sign that reads, “I am the Yellow King?”  I get it, I really do.  I really get off on that kind of thing as well.

But, isn’t it nice to be offered something…different?  More thoughtful, quiet, nuanced, more…intelligent?  An ending to an incredible story that makes us look inward, reflect, and meditate on the message and the meaning?

I really feel like the ending that Nic Pizzolatto went with offers this opportunity, and for me, it’s a welcome change from the usual “in-your-face” that our culture seems to gravitate towards in droves.

In offering a few ideas about “resolution,”  I invite those who were left unsatisfied by True Detective‘s finale to take a little time, and when you are ready, watch it again.

This time, you will be unburdened from the expectations that you had before. At this point, you have already yelled at the screen and posted your thoughts on the matter, so just breathe, reboot, and watch it again, with new eyes.

And while you watch, I invite you to entertain the following questions, or concepts:

What does the concept of “resolution” mean to you, the viewer; to the characters in this story; or to the entire series as a whole?

Also consider these different levels of “resolution” within the finale episode:

1) Resolution of the criminal case at hand…what elements, to you, were resolved? What elements were not? 

2) Spiritual resolution, or resolution of the inner conflict within a character’s psyche…what transformations, or resolutions, did each of the main characters come to, or experience, by the episode’s end?

3) Resolution of conflict between the main characters, Rust and Marty, and the resolution of conflicts that Rust and Marty had with other key characters, elements, and institutions presented in the story line. Where were these conflicts, and relationships, left by the story’s end?

And, after rewatching and considering the many levels of resolution that are possible within this story, does your opinion of the finale episode change or alter in any way?

The Merriam-Webster definition of resolution is as follows:

resolution (noun) : (1) the act of finding an answer or a solution to a conflict, problem, etc. (2) the answer or solution to something  (3) the act of resolving something

In my opinion, True Detective’s finale episode, “Form and Void,” does effectively resolve the crucial, key conflicts that were presented in the story, and with the main characters, on some level or another.  That is the way it goes in life, and this makes the TD finale, to me, have the ring of truth to it.

Another element that felt true to me was that feeling of anticlimax, and melancholy, that the viewer may have been left with at the finale’s end.  In real life, detectives who spend years working on a case do report feeling a mixture of elation and let-down once a case is solved…all that time with a clear purpose, working on solving a crime, and then, once the crime is solved, and the case is closed, what comes next?

That lost feeling, coupled with the fact that even solving a crime will never bring a murdered, innocent victim back to life, or undo any evil or harm that had been done to others, makes the resolution of a case, or a story like True Detective, a mixed bag of emotions.

Just because something is resolved doesn’t mean the end result brings happiness, or satisfaction, to all the elements of a problem, conflict, or situation.

If you remain unconvinced, I completely understand.  If you are all fired up, still, may I suggest you channel your considerable energies and talents into writing an alternate ending, or starting your own series of True Detective or film noir fan fiction?  And please send it to me when you do…I would love to read it.

Writing is a lonely endeavor, at times, and it’s nice to know that there are others out there, slogging away at it, writing, rewriting, editing ad nauseum, guzzling beverages, and vainly trying to keep a grip on our sanity as we try to find a resolution to our own storylines.

So, to Nic Pizzolatto, and the TD cast and crew, I raise my glass to you…cheers on a job well done.  Whatever the future holds for True Detective, I personally feel the first, original season, beginning to end, was an artistic tour de force.  Thanks for the wild ride, the inspiration, and for the characters of Rustin Cohle and Martin Hart.

Rust and Marty forever! ❤

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One of my all-time faves…

———————————————————————

“Alone”

The opening scene of “Alone “ hearkens back to the first half of The Walking Dead’s Season 4, showing a powerful series of shots featuring Bob, in days of his wandering the woods alone, the sole living survivor of two other groups he had been with before the prison.

Set to the haunting “Blackbird Song” by Lee DeWyze, the montage shows Bob, with an empty, dazed look in his eyes, wandering listlessly through the woods, going through the rote mechanics of survival…in one shot, he hides behind a tree, staring ahead, as a group of walkers pass yards away:

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In another shot, we see Bob, barely able to stand, rapping on the entrance of a small shelter, checking for walkers.  He secures the entrance and proceeds to drink himself into a stupor. After getting his drink on, he watches, uncaring, as a walker tries to paw its way through the makeshift fencing he erected:

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As the montage continues, we see Bob has found the back trailer end of a large tractor trailer, abandoned on the wooded road. He hoists himself onto it, lying on his back and staring at the sky as a large group of walkers pass beneath him.  Once it’s clear, Bob sits up, dismounts, and begins his shuffling walk down the road, only to be startled by the now unfamiliar sound of vehicles approaching.  It is Daryl, riding his motorcycle, and Glenn, driving behind him in a pickup truck. Bob stands, watches them pull up, get out, and approach him warily.

“Hi…hello,” Bob calls to them, his hand motioning slightly towards them.  His voice is strong, and somewhat defiant as he says this, as they do not acknowledge his greeting, nor reply in kind.

Daryl keeps his eye on Bob, asks if it’s just him out here.  Bob replies that it is.  “How long’s it been like that for?” asks Daryl. Bob replies that he doesn’t know, that he had been with one group, then another one after that. “They didn’t make it, neither one of them?” asks Daryl.  Bob shakes his head, no.

Daryl asks his name. “Bob…Stookey,” he replies. Bob looks to Glenn, then Daryl, taking in their clean, well-groomed, well-fed appearance.  “You people have a camp?” he asks.

Glenn and Daryl exchange looks. Then, Daryl fixes his eyes on Bob, and asks the first of the three questions the prison council has come up with to size up any strangers they meet outside the prison walls, to determine if the person is somebody they would want to bring into their group: “How many walkers have you killed?”

Bob takes a moment, does the math in his head.  “I don’t know, ” he replies, “I haven’t kept count…a couple dozen?”

“How many people have you killed?” continues Daryl, keeping his gaze fixed on Bob. “Only one,”  Bob answers, looking down a moment, as if reliving a painful memory. Glenn looks to Daryl, who steps one pace closer to Bob, asks the final question, “Why?”

Bob looks up then, answers simply, “She asked me to.” Now it is his turn to look at Daryl and Glenn.  His demeanor is one of a man who has nothing to hide, and nothing to lose. Daryl takes a step back, asks Bob, “You wanna come with us?”

Bob looks around at the woods he had been traversing for who knows how long, answers, “Yes.”

“You got any questions for us?” asks Daryl.  Bob shakes his head, “No…it doesn’t matter who you are.”  “Really?” asks Glenn. It is the first time he has spoken. “Yeah,” replies Bob, sheathing his machete into his belt loop. “It doesn’t matter.”

The final shot of the scene is of Bob, riding in the back of Glenn’s pickup truck. There may be the barest glimpse of a smile around his mouth. Bob seems hopeful for the first time in a long, long time.

The next scene is in the present, with Bob, Sasha, and Maggie back to back to back in a thick mist.  From just beyond the mist, we can hear the hissing and slavering of the walkers getting louder, closer.  

Sasha, Maggie, and Bob are poised, ready, and from the mist approaches the first walker…the trio are ready to strike, and the following scene is another epic walker kill scene, with Bob, Sasha and Maggie springing to action and killing The Mist Walkers one by one with fierce, on-target head kills using a sharpened wooden stake, knife, and general bludgeoning techniques. 

It is some gnarly hand-to-hand combat, from three who are seasoned warriors by now, and who can bring it:

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It’s a close call, though, as Bob almost gets bitten and Maggie gets a walker on top of her that is hard to keep back.  Sasha, ever handy, bludgeons Bob’s walker and rekills Maggie’s walker with one well-aimed shot to the head:

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After killing Maggie’s walker, Sasha turns to Bob, worried, until Bob, giddy with relief, informs them that the walker only got his bandage and not his shoulder…Sasha is unable to contain her joy and gives Bob a big hug, which is super cute:IMG_3867 IMG_3832

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Maggie looks on and laughs, but you can tell she’s thinking, “Where the hell is Glenn, dammit?”

After the celebration is over, however, the trio have some things to decide on…Maggie wants to get on the move to find Glenn, while Sasha advises they wait until the fog clears.  Maggie has some bad news…the compass is broken.  Bob reassures them things will be fine. “Sun rises in the east and sets in the west, we’ll keep an eye on it in between…we’ll be fine.”

Meanwhile, Daryl is positioned behind Beth, giving crossbow and tracking lessons…they are looking pretty adorable together, if truth be told.  Beth is trying to get Daryl to give her some clues as to what she’s looking for, but he is being a good teacher, and putting the questions to her…what does she see?

Beth can see some zig-zaggy tracks…she’s feeling pretty pleased with herself, jokes to Daryl that she’s getting pretty good that this, that soon she won’t need him anymore…

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While watching this, I actually typed, C’mon, let’s see these two get sexy.  I mean, the suspense, right?

We’ve seen them kill walkers together, get drunk together, wage drunken battle together, and then get real with each other, burn a house down together, while flipping it off in unison…is it just me, or by this point, were you all like me and chanting, under your breath (because, you know, the kids are sleeping), “Do it, do it, do it!”

Beth and Daryl spot a walker feasting on some poor animal that got caught in a steel trap, and Beth, crossbow poised and ready, steps quietly towards the walker, ready to shoot…and steps on the sharp metal spike securing the trap.  The spike sinks into her foot (owwww!), and Beth collapses to the ground.

The walker whirls and lurches towards her, and Daryl once again comes to the rescue, employing his invaluable “crossbow upside the walker’s head” maneuver, rekilling the walker and  then crouching down to gently check Beth’s foot (“Can you move it?”) She can…but it’s definitely a bad one.

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While the Beth injury scenario definitely annoyed me, I do realize that her injury set some key plot-changing elements in motion, like Beth asking Daryl for a sitting break when they arrive at a graveyard…her foot is hurting, and she needs a rest.  Daryl, who is getting better and better at recognizing good-boyfriend-opportunities as they arise, scoops up Beth in a piggyback and playfully jokes with her that she’s a lot heavier than she looks:

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Now, that is pretty adorable…

Daryl and Beth find a gravestone from long ago that reads:

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Daryl picks a clump of wildflowers and puts it on the gravestone…he then stands besides Beth and their hands find each other in a hand-hold so sweet, I actually cheered out loud:

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Personally, I am so loving seeing this sweet side of Daryl…he’s got that sexy tough & tender combo that’s a real panty dropper.

Back on the tracks, Bob, Maggie and Sasha spy the Sanctuary sign…Bob shares his memory of hearing the message about Sanctuary on the car radio during the antibiotic run.  Sasha is doubtful about the Sanctuary and its promising slogan, “All who arrive survive,”  thinking it’s too good to be true.

I am definitely giving Michonne and Sasha props for intuition regarding this Sanctuary…you can’t feed a savvy sister some white man’s slogan and expect her to believe that shit without question.

Bob, however, is on board with checking it out, and Maggie is convinced that Glenn would head there if he saw the sign, thinking Maggie would go there to find him.

In the end, Bob proposes a vote…they cannot split up, and perhaps others from the prison will be at the Sanctuary.  Sasha doesn’t like it, but she agrees to go along…and so they begin the long trek to the Sanctuary.

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Meanwhile, Daryl and Beth investigate the large white funeral home adjacent to the cemetery. It seems clear of walkers, and is clean, they notice, like somebody has been tending to it, living there.  They find a room with an embalmed body, dressed in a suit and arranged, hands folded over each other, in an open casket.  Daryl reaches out to the corpse’s face, runs his fingers through a thick layer of makeup, looks at Beth questioningly.  In this day and age, why would somebody go to the trouble?

They continue on, find a sterile processing room, with bodies on metal tables, in varying stages of being prepared and dressed, as if for a funeral.  One corpse’s face shows the telltale sign of decomposition that comes from becoming a walker…is some Mysterious Mortician preparing and dressing walkers for some crazy wake or funeral scenario? And if so, what the fuck is up with that?

Daryl comments, “Looks like somebody ran out of dolls to dress up,” and Beth comes quickly to the Mysterious Mortician’s defense, saying that she thinks it’s beautiful, that somebody cared enough to remember that the bodies were once living somebodies.

“Don’t you think it’s beautiful?” Beth asks Daryl, and Daryl has this look on his face, like,  Well, I don’t know about that…I actually think it’s pretty fucked up…But, I think that would be the wrong answer to say that, to her, right at this moment…so I will say nothing…

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Daryl looks away and gets quickly back to the business of cleaning and wrapping Beth’s injured foot.  Daryl is no dummy, and he sure as hell is catching on with this boyfriend thing really fast… Good for you, buddy!  I never had any doubt…he has always been so sweet, ever since Sophia.  (Man, I can’t wait to talk about all that shit! Season 2, we are coming, I promise!)

Meanwhile, back to Bob and Sasha…it seems to be part of their courtship dynamic to hash it all out, and call each other out.  It’s like some sort of edgy, in-your-face foreplay, and I, for one, am kind of liking it.  It fits them…they’ve both seen some shit, and they know that nobody has time to fuck around anymore.

Bob asks Sasha why she wants to stop, instead of continuing on to Sanctuary.  Sasha replies, “To not die…” She feels the close call that morning was “a warning…we get warnings, and the next time,” and she looks pointedly at Bob’s shoulder, then at him, “Next time, it’s on us.”

Sasha lays it out, as she sees it. “Odds are, Glenn is dead, Odds are, we will be too,” Sasha feels they should follow the tracks to the next town, find a building, hole up.  They only have six bullets left, Bob is bleeding…Sasha asks Bob to think about it, to help her convince Maggie when Maggie returns.

Back at the funeral home (ha! How many times does someone get to say that?), Daryl and Beth keep finding signs that someone has been keeping up the house.  Daryl finds a cupboard stocked with peanut butter and jelly, diet soda, and pigs’ feet. The cans of food, like the rest of the house, are clean and look recently stocked.  Daryl remarks on this, while helping himself to jelly straight from the jar (to Beth’s feigned disgust), saying that they will take just a little, and leave the rest.

Beth laughs at this, telling Daryl she knew he believed, deep down, that there are some good people left in this world.

Ok, you two…that’s very cute and all…now why don’t you find a couch and get down to the business of making out, so we can all watch?

Now, if I may say so, at this point, did I not call this, Beth being all cute in the squatter house, as she and Daryl get more and more into each other? Just saying, that’s some oracle shit, right there…or maybe it was really obvious.  Anyhow, feeling pretty McConaughey in the moment.

Oh, have I not mentioned that I have begun using “McConaughey” in many different contexts?  For example, it can be used as a not-so-proper noun, (“I want to do many naughty, delicious things to your McConaughey.”); an adjective (“That is so McConaughey of you.”); a mild expletive, (“Just what the McConaughey is going on here?”); a verb: (“I’m going to go take a couple hours for myself to go McConaughey.”) To McConaughey, of course, could mean you are going to take your shirt off and bang on some bongoes, or it could mean that you are going to go create a 450-page timeline and synopsis of the latest iconic character you are playing in your upcoming movie…the world is your oyster when you McConaughey!

Back at the funeral home (yes! fun every time), things are getting pretty teenage-weird. There are candles lit, which is nice, but Beth is singing some dumb song at the piano, and Daryl is getting in the coffin, saying it’s the most comfortable bed he’s been in in a long time.

Now, I do understand that Beth is a teenager and Daryl’s probably never been on a real date, but my eyes were kind of rolling in the back of my head, at this point…it’s like, Um, excuse me, Kirkman? Gimple?  When is the heavy petting going to start?

My WD buddy texted,  I am bored of Beth…where the fuck is Carol?

Ha ha! I could not stop laughing…just somebody start making out already, please!

Back at the camp, it seems that Maggie has ditched and set off on her own to go find Glenn. Bob and Sasha quickly roll up camp and set off after her. At the Sanctuary sign, Maggie encounters a snarling, hissing she-walker, who Maggie rekills…then in a moment of goretastic ingenuity, Maggie slices open the walker’s belly to scrawl a note for Glenn in walker blood. Maggie’s gotten so dark, and sexy…so not boring like Beth is being right now.

My WD buddy texted me, I want Rick, Carol, Tyrese drama…lol

I texted back, Lizzy! Lizzy!

Bob and Sasha set out to go find Maggie, Bob’s smiling because he’s not alone anymore.  I really like Bob more and more, especially after this episode…I was a real dick about him at first, mistaking his spookiness and general social awkwardness as some sort of guilt or shadiness, but Bob’s alright.  Sorry I was a dick, Bob.

Bob and Sasha find Maggie’s sexy walker blood note for Glenn:

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Back at the honemoon funeral home, Daryl is carrying Beth to the table for a pickle snack (no, a real pickle snack, like on a plate…shit’s moving Dawson Creek slow around here). They hear a scratch at the door, and Daryl’s looking like a cute protective boyfriend as he leaps up, motioning for Beth to stay put. (Put another boyfriend point up on the scoreboard for our man, Daryl Dixon!)  He opens the door to reveal the cutest, scruffiest one-eyed dog, who whimpers and runs off.  Fuck, I forgot there were dogs in the world!

On Talking Dead, Lauren Cohan and Sonequa Martin-Green said the dog used in that scene lost his eye protecting his owner from a carjacking…give up a paw for that sweet, scruffy hero!

As a sassy night walker snarls in the moonlight, Bob and Sasha are sitting on a roof, getting real, again. Bob comes out and asks Sasha why she thinks Tyrese is dead, because they both know Tyrese would go to Terminus.  Bob tells Sasha that he thinks she is too afraid to find out, one way or another, if Tyrese makes it to Terminus, if he’s alive or dead.  Bob tells Sasha that he thinks that’s funny, because up until now, Sasha had been “the toughest person” Bob had met, “which is funny, because you’re also the sweetest…” At Sasha’s “are you for real?” look, Bob laughs, says, “Just sayin’!”

At this point in the watching, I was thinking, Well, maybe somebody is going to make out in this episode!  What else is there to do on that roof?  Sassy Night Walker certainly isn’t going to let anybody get any sleep. But, alas, Bob takes Sasha’s advice to get some sleep, lies back on his makeshift pallet, leaving Sasha sitting awake, with only the song of Sassy Night Walker to keep her company. Damn!

Back at the pickle-picnic, Beth is writing the Mysterious Mortician a thank you note, for when they leave. Daryl shyly suggests that maybe they don’t have to leave…that maybe the person won’t come back, or if they do, maybe they’ll be cool. Beth laughs, asks Daryl what changed his mind about people, what made him believe there can be good people?  In response, Daryl fixes Beth with the sweetest love look, like, ever…

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Another scratching sound at the door interrupts their moment, and Daryl reaches his fingers into a jar for a pickled pig’s foot to lure the dog in, saying he’ll “give that mutt one more chance…” Oh, those crazy kids…first they fall in love, then they shack up, adopt a dog…but this time, it’s not the dog.  It’s a crush of walkers, pushing their way into the house as Daryl vainly tries to hold them back, screaming for Beth to grab her bag and get out the window, that he will follow.

What does follow is one of the most harrowing walker escape scenes in WD history, in my opinion.  On Talking Dead, they discussed the making of the scene where Daryl uses the exam tables to block the crush of walkers and buy himself a moment to escape up the stairs…the scene was shot in a small room in a storage facility to create the narrowness of Daryl’s amazing escape.  It was hard to get a good shot of it, only got this one:

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Despite poor Daryl’s superhuman escape, he just misses Beth…he sees her bag lying in the road, then sees the Mysterious Mortician’s black funeral procession-leading car speed off with poor, gimpy Beth undoubtedly inside, captive:IMG_3970

Poor Daryl! He was just starting to open up, damn…now this…

My WD buddy texted, I want Rick! Me too, dude…Rick Grimes just makes everything better.

Back on the tracks, Bob is telling Sasha that he realizes now that he doesn’t need to be afraid, that he is not going to be alone anymore like he was, not going to hold back on taking risks and really trying to live.  He is going to go on, find Maggie, go to find Sanctuary.  Then, Bob answers my prayers for a lip-lock in this damn episode and pastes one on Sasha…thank you, Bob!

Finally!

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After the kiss, Bob bids Sasha goodbye and heads on down the tracks.  Sasha looks after him for a moment, then turns to go to the building she had spotted and wanted to make a home base with Bob.  She goes inside and upstairs, finding a nice airy loft with lots of light and pretty exposed brick….but she is hating it, you can tell.  Fighting back tears, she goes to a window, looks down, and sees…Maggie! (Who is lying down among dead walkers, next to an ice cream truck, for some reason…)

When Sasha accidentally pushes the pane of window glass and sends it crashing below, it awakens other walkers, who start coming for Maggie.  Sasha runs out to help, and the brand-new besties slice and dice some walkers together, bad-bitch style:

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Maggie asks Sasha to be PSOAM’s together…Post-apocalyptic Sisters On a Missonof course Sasha says yeswho can refuse that smile?

Poor Daryl, collapsed and exhausted in the road, is not faring as well. It seems he has been discovered by the Downstairs Thug Boys, with their loud douchey leader, Joe. When Joe reaches for Daryl’s crossbow, Daryl takes him out with one upswing and sends Douchebag Joe to the ground.

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Luckily for Daryl, Joe laughs, shows Daryl props for being a “bow man.”  He orders his henchmen down, and invites Daryl to join them, rather than fight them, as Daryl’s resistance would be tantamount to “suicide.”

In the most fucked up slogan ever, Joe asks Daryl, “Why hurt yourself when you can hurt other people?”  Daryl must play along as Joe’s new pet, it seems, until he can find a way to get to Beth.

Back on the tracks, Sasha and Maggie have caught up to Bob. They embrace, begin the journey to Sanctuary, together.

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The very last shot of the episode shows Glenn, who has found one of the maps to Terminus…he touches it with his finger, and you can see the wheels inside his head turning.  Looks like there’s going to be a prison gang reunion at Terminus, if all can arrive alive…we’ll see, won’t we?

Until next week, and enjoy the playlist:

Playlist:

Rush, “Headlong Flight”

Beck, “Blue Moon”

The xx, “Islands”  (for Bob and Sasha, Daryl and Beth, and Glenn and Maggie)

Redbird, “Moonshiner” (for Daryl…and Rust <3)

alt-J, “Dissolve Me”

Lee DeWyze, “Blackbird Song”

The Walking Dead, Season 4, Episode 12, “Still”

In my world, The Walking Dead’s Season 4, Episode 12, “Still” felt kind of like a limp little paper umbrella topping off the shitty cocktail of a weekend full of feverish, pukey kids, sleepless nights, headaches, and crying jags (both the kids’ and mine).

At one point, it felt like my life was awash in tears, vomit, Children’s Advil, and finally, at the end of the vomit-soaked weekend from hell, my ultimate reward finally came: Coronas with lime, and The Walking Dead, Season 4, Episode 12, Sunday night, 9pm.

While setting up my laptop and Corona situation in front of the television at around 8 pm, I idly purveyed the red carpet fashions of Oscar night and wondered what was in store for us with “Still.”  It wasn’t until about 45-minutes into watching the episode that I realized that the entire episode would be dedicated to exploring Beth’s teen angst and Daryl’s arrested development.

By the end of it, I was re-upping two Coronas at a time…lime, salt, glug-glug-glug…but the Coronas weren’t making it better fast enough.

My ever-discerning WD buddy texted me about thirty minutes into it:  Kinda bored with this episode.  That was my inital hit as well.  My mind has changed about it, and my appreciation has deepened for it, with subsequent viewings.  That night, though, I was bored and restless with it.

While I remain fully supportive of Daryl and Beth deepening their friendship and maybe falling in love, I guess I kind of felt about it the way I feel about teen love in general: it’s great and all, but I don’t want to necessarily watch it for more than about 10 minutes, 15 minutes tops…usually.  

When teen love is portrayed right in a movie, or on television, it’s awesome.  Vampire Diaries, Buffy the Vampire Slayer, Freaks and Geeks, The United States of Tara come to mind as examples of television doing teen love right, capturing the newness, beauty and awkwardness of it while being thoroughly entertaining and relatable at any age.

I’m not trying to be a dick here. I know it’s zombie freaking apocalypse, and there isn’t that much room for witty teen banter when peeps are running for their lives…it’s actually an amazing feat that the writers of The Walking Dead have managed to interject as much love, humor, and human moments as they have, four seasons into this story.  It’s super bleak subject matter to be dealing with, and the writers manage time and time again to wow us with the depth and complexity of the characters and the human relationships they form with fellow survivors.

Maybe the WD writing team is just giving us a break before they start really kicking our asses.  I’m sure that’s it.  Knowing Kirkman and Co. (and I really don’t, although I pretend I do…delusional much?), maybe it’s the calm before the storm, the exploration into Daryl and Beth, both as individuals and as partners, romantic or otherwise, which remains to be seen.  I do like that Kirkman and Co. have kept the Daryl/Beth potential hookup card held close to their chests, for now…will they or won’t they?  

And…do we want them to?

I think, after watching “Still,” the majority of WD fans would support Daryl and Beth as a couple (unless said fans are in the creepy “I am Mrs. Norman Reedus” demographic and can’t stand the thought of Daryl with anyone other than them….those bitches do not like to share).

I don’t know what it was about this episode that left me flat. Maybe we fans are just plain spoiled with such consistent, high caliber writing. I write a freaking blog, for christ’s sake. Who died and made me some kind of expert?

There were many aspects of “Still” that make a strong case for it as an episode.  It was truly righteous of Beth and Daryl to survive both the Car Trunk Walker Rave and the Pine Vista Country Club Walkers, find the Shitty Shack and get drunk together on moonshine, work out some personal issues and deepen both their connection and their resolve to carry on. Just because I am not convinced that the episode was the most enthralling television ever doesn’t mean I am not loving those crazy kids…it’s Daryl and Beth, for chrissakes!

And as a WD fan and sometimes sideline reporter, I am also stoked that Norman Reedus and Emily Kinney got to flex their fine young talent in an episode devoted just to their characters…it’s the first time ever that The Walking Dead television series focused an entire episode upon two main characters.  Bully for Daryl and Beth in all those regards.

All props aside, I was left feeling like the episode was a bit…long-winded.  My WD buddy agreed with me. When we discussed it the next morning, she told me she felt like the whole thing between Daryl and Beth could have been consolidated into about 20 minutes, and that the rest of the time could have explored what was happening with other characters.  Agreed.

Now, it’s time for me to make a true confession:  Aside from my being bitch-slapped by the stomach flu over the weekend, my ennui with “Still” may also have been due to the fact that my attention has also been swayed, just a little, by the arrival of a new cult classic on the scene: True Detective, and its leading man, Rustin Cohle, played by Matthew McConaughy, and his partner, Martin Hart, played by Woody Harrelson.

In the course of six episodes, I’ve only taken, like, a thousand pictures of Rust Cohle…and that’s just of him smoking

Rustin Cohle...

Rustin Cohle…

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I am obsessed with the dynamic between Cohle and his partner, Marty Hart…and pretty much obsessed with all things Rustin Cohle

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When a character is this beautiful, and brilliant, and is willing to sacrifice his own soul and sanity to save the innocents from dark forces, how am I not supposed to love that shit, I ask you?

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I have posted so many pictures of Cohle on my personal Facebook and Instagram pages that I am sure that people think I have gone a little insane…and maybe I have…it’s my Rust Period. Just go with it.  I have.

So, there it is, people…I’m cheating on WD with TD…maybe it’s not cheating, but whatever it is that I am doing right now, there are some dark-ass storylines rattling around in my subconscious these days.  For the past two weeks, I have basically been white-knuckling it, perched upon the precarious precipice of dim Carcosa…it’s like I am Method-watching these brilliant and disturbing shows, and getting a little demented in the process.

I do the mom/wife thing, go to work, but I am vague, distracted. Many details are forgotten. My friends and co-workers keep asking me if I am ok.  I don’t know if I am.  I mutter some barely intelligible reply in response, and, if I have the focus, I change the subject . If not, I simply turn away, lost in my thoughts.  My dreams have been weird as shit.  At the children’s bedtime, I hug them for dear life.  I am tweaked, people. These days, I am a junkie for the dark and crazy. So is it any wonder that Daryl and Beth’s after-school zombie special didn’t really do it for me this week around?

But, in the spirit of positivity, and because I am a loyal fan of the WD, here is my The Top 5 List of “Still”:

1) The Car Trunk Walker Rave

It is a dark and spooky night, and a storm is brewing…the camera pans to an abandoned car. The driver’s side door has been ripped off, the driver’s body spilled out from the car onto the road.  She has been dead a long time.  We hear a rustling from the brush, then we see Daryl, then Beth, emerge from the woods… she runs to the car and tries to start it, to no avail….of course.

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At the sound of walkers approaching, Daryl proves his constancy and resourcefulness yet again by quickly opening the trunk of the car and motioning for Beth to climb inside…he follows suit, fashions a quick knot to secure the trunk without closing it all the way, and props the wide arc of the crossbow sideways to prevent the trunk from closing completely. He then aims the crossbow at the small opening, ready to fire if needed. They watch and wait…

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The noise of the walkers approaching, and passing, outside the car becomes deafening…it sounds like there are hundreds, thousands outside. Time passes, the storm erupts, adding to the savage caucophany of the walkers.  The camera pans on Beth’s face, pale and frightened, and on Daryl’s, as he keeps his crossbow ready, still and watchful as the walkers outside seethe and snarl and hiss.

It is a truly terrifying scene, one of my favorites thus far in WD…The Car Trunk Walker Rave!

My WD buddy texted me, That trunk scene could have been way hotter!  Ha! Agreed, but it would have been kind of hard to get things going with all those damn walkers partying outside, even while sharing the tight quarters with Daryl Dixon.

Hey, undead assholes, keep it down…we’re trying to get busy in here!

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The next morning, sunlight shines through the tiny opening.  It is silent outside, finally…the walkers are gone. Beth and Daryl emerge from the trunk, alive for another day. After stripping the car for anything they can find (bottled water, side mirror, hubcaps, rope), Daryl looks at Beth a moment, turns and walks away while she stands there beside the car…she’s thinking…we can see the look on her face as she begins to form the idea in her head…

“Fuck this shit.”

2) Beth Needs a Damn Drink

And who can blame her, really?  I mean, while it’s pretty fascinating to watch them set up camp (Daryl hunts and skins a rattler while Beth uses the car mirror to start a small fire and drapes the hubcaps low across the trees as a walker-alert mechanism), the rote survival grind has got to be pretty dreary at this point.

 Run until you collapse. Hide. Watch. Wait. Hunt and forage for food, water. Set up camp.  Eat charred snake and huddle around the small fire. Watch. Wait. Sleep, for like 10 minutes. Hear walkers, run until you collapse. Repeat.

Beth has had enough of this shit.  “I want a drink, she announces, as she watches Daryl eat rattler by the fire.  He doesn’t say anything, doesn’t even look up from his meal, just tosses the water bottle at her and continues eating.

Beth looks down at the water bottle, then back at Daryl.  “No, I mean a real drink…as in alcohol.”   As this pronouncement fails to elicit a response from Daryl, Beth continues, “I’ve never had one…because of my dad and all…but he’s not exactly around anymore, so…I thought we could go find some.”  Still nothing from Daryl…he just keeps going to town on his grilled snake, is silent.

Beth watches him for a moment more.  Her mind is made up. She is a teenager on a mission.  “Ok,” she says, standing up. “Enjoy your snake jerky.” She walks past Daryl, yanks her knife from the log, and stalks off. Daryl doesn’t look up from his meal.

“Jerk,” she mutters, alone in the woods.  A small group of walkers appears in a clearing, and Beth hides behind a tree, lobs a pebble to distract them.  When the last walker finally turns away to investigate the noise, Beth whirls around to find Daryl, who has silently had her back the whole time:

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As Daryl leads the way through the woods, Beth directs Daryl, “I’m pretty sure we need to go that way to find the booze.”  When she steps into the hubcap-alert mechanism, she realizes Daryl brought her back to their little camp.

“What the hell?” Beth yells. “You brought me back! I’m not staying at this suck-ass camp!” And then Beth unleashes the first flip-off of the episode:

You tell him, Beth!

You tell him, Beth!

Beth whirls on Daryl, when he tries to pull her back,What the hell is wrong with you? Do you feel anything?  Yeah, you think everything is screwed…I guess that’s a feeling! So you wanna spend the rest of our lives staring into a fire and eating mudsnake? Screw that! We might as well do something!  I can take care of myself, and I’m going to get a damn drink.  And with that, Beth marches off, and after a moment, Daryl follows her.

Ha! Teenagers!

3) The Pine Vista Country Club Walkers

It is indicative of Beth’s youthful innocence that she thinks there is a drop of alcohol left in The Pine Vista Country Club by the time she and Daryl arrive on the scene…what she doesn’t realize is that even on a good day, those rich juicers are probably going to drain the bar dry, let alone their being holed up inside the hallowed walls during the first stages of a zombie apocalypse.

Good luck finding anything to drink in there, Beth.

What Daryl and Beth discover inside the Pine Vista Country Club resembles more of a class-war graveyard than a “bon voyage, life!” party.  The floor is strewn with dead bodies lying atop sleeping bags, while walkers dressed in sports coats, dresses and pearls hang, hissing and snarling, from the rafters.

Messages are scrawled on the walls beside piles of bodies, suggesting a grim humor being wielded as viciously as the weapons used to kill the priveleged former patrons of the country club.  Welcome to the dugout, reads one message, and Beth is horrified to discover a woman’s corpse, strung up on a mannequin’s stand, with the sign “Rich bitch” around her neck:

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Beth tries to remove the body from the stand, but is unable to do so, so Daryl throws a sheet over it to placate her…dark, and hilarious, especially the scene when Daryl drives a walker’s head with a golf club and sends its brains spattering all over Beth’s new white cardigan:

My new sweater!

My new sweater!

After finding nothing but cashmere and sport-coat swaddled walkers and one shitty bottle of peach schnapps at the Pine Vista, Daryl finally steps up and acts like a real boyfriend. He grabs the bottle of schnapps and smashes it to the floor, tells Beth that her first drink “Ain’t going to be no damn peach schnapps!”

And so, with that, Beth and Daryl bid “hasta la vista, Pine Vista” to the dilapidated country club and head out to go get them some moonshine at…

4) The Shitty Shack of Moonshine and Bad Memories

Daryl takes Beth to a place that he and Michonne discovered, a small cabin that has a moonshine still inside and is stocked with jars full of clear moonshine.  “That’s a real drink right there,” says Daryl.

At first, Beth isn’t so sure. “My dad said you can go blind from bad moonshine.”  When Daryl replies there’s nothing out there worth seeing anyway, Beth relents.  She balks at the first drink, but the second goes down easier. At first, Daryl refuses a taste, saying that someone needs to keep watch. Beth challenges him, “What are you, my chaperone?”

After giving Beth a run-through of the Shitty Shack, which boasts all the comforts of Daryl’s dad’s place (complete with pink plastic bra planter, an old dumpster-picked chair, buckets placed strategically to spit chaw in, and an old weekly for entertainment), Daryl relents and takes the jar that Beth offers him. He goes to the old dumpster chair and has a seat.

“Home sweet home,” toasts Daryl, and takes a drink of moonshine.

Soon, Beth is teaching Daryl the rules of “I Never.” She seems surprised that Daryl’s never played it before.  “I ain’t never needed a game to get lit before,” replies Daryl.

“Wait, are we starting?” asks Beth.

Beth starts easy…she’s never shot a crossbow before. She tells Daryl to drink.  Now it’s his turn. Daryl pauses, then begins by saying he’s never been out of Georgia…Beth seems surprised by this, but says, “Good one,” and she drinks. Beth says she’s never been drunk and done anything she’s regretted. Daryl drinks, of course.  “I’ve done lots of things.”

Daryl says he’s never been on vacation, and when Beth says she’s never been to jail (as a prisoner, that is), Daryl doesn’t drink.  He narrows his eyes, asks, “Is that what you think of me?”

Beth protests lightly, replies that even her dad got locked up in the drunk tank, back in the day…she invites Daryl to resume the game, but he tells her he needs to go take a piss.  He goes to the other end of the room, smashes his glass, unzips, and begins pissing into a corner.

When Beth tells Daryl to be quiet, Daryl snarls, “I can’t hear you! I’m pissing!” It has become apparent that Daryl has Gone to the Dark Side.  He continues his tirade, listing to poor Beth all the things he’s never done: he’s never eaten frozen yogurt, he’s never gotten a pet pony, he’s never gotten a present from Santa! ( 😦   Poor guy…he really did have a shitty childhood!)

Daryl continues his rant, flinging his ire directly at Beth (“I’ve never sung out in front of people before, out in public, like everything was fun, like everything was a big game…I sure as hell never cut my wrists, looking for attention!”)

Daryl’s rant gets the attention of the Shitty Shack Lurker Walker, who starts getting agitated outside and tries to paw its way into the cabin. Daryl continues castigating Beth. “You’ve never fired a crossbow before? I’m gonna teach you right now!” He pulls Beth by the arm, pulls her outside, still yelling, and gets behind her, sets the bow and starts shooting arrows into the poor lurker walker, impaling it onto a tree.  Beth begs him to stop, rushes forward and stabs the walker in the head, rekilling it.

“Whadja do that for?” demands Daryl. “I was having fun!”

“No, you were being a jackass!” Beth yells back.  She continues to call him out on acting like he doesn’t care about losing the people they loved and cared about…she even calls him out on Sophia, saying that she saw his face when “that little girl came out of the barn, after my mom (as walkers)…you were like me, then,” but now, Beth tells Daryl, he acts like he doesn’t care about anything, or anyone.  “You look at me like a dead girl…It’s bullshit!”

Daryl first tries to tell her she doesn’t know him, but he breaks…he blames himself for the fact that he quit looking for the Governor, and the Governor came back, mowed down their fences, and destroyed the life they had worked so hard to create at the prison.  He mentions Hershel, that maybe he could have saved him..and Beth rushes to him as he breaks down and hugs him from behind:

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Dude, how can I be such a dick and hate on this episode? This moment is really beautiful…I think I just kept wanting them to do it. Sorry, guys

Later, that night, Beth and Daryl are sitting on the porch.  They are relaxed now, joking about Beth being a happy drunk, while “some people get mean.”  Beth looks pointedly at Daryl, who agrees easily, “I’m a dick when I drink.”

Daryl reveals to Beth that before the turn, he was nothing…he was just drifting around with his brother Merle, doing what Merle said they were gonna do that day.  Daryl looks at Beth as he admits he was, “Nobody, nuthin’, just a redneck asshole with an even bigger asshole for a brother.”

Beth asks Daryl if he misses his brother, and she talks about how she misses Maggie, her big brother Shaun, and her father…Beth admits that she hoped for a quiet peaceful life for her father, with a grandbaby from Maggie and Glenn, and picnics, and life to a ripe old age, surrounded by people he loved.

“Shows how stupid I am,” she laughs, reaching for her jar to drink. Daryl is sweet as he listens, says,  “That’s how it’s supposed to be.”

Beth tells Daryl she wishes she had changed, and when Daryl tells her she has, she disagrees.  “Not like you….you were made for the way things are now.”

Daryl counters that he was brought up in ugliness, that it is merely familiar to him, like the shitty cabin they found that reminded him of his dad’s place. Beth tells him that he is not of that, not anymore, and Daryl replies, “You’ll have to keep reminding me, I guess.”

Beth then tells Daryl that one day, she’ll be gone.  When he protests, she tells him it’s true. “You,” she tells Daryl, “will be the last man standing.”  Poor Daryl’s face when she says this…it’s like she just voiced his worst nightmare.

Beth looks at Daryl and tells him that he’s going to miss her when she’s gone. “You’re gonna miss me so bad, Daryl Dixon,” she tells him with a little laugh in her voice, but it hitches with sadness, too.

Beth tells Daryl that he needs to stay who he is now, and leave who he was behind, and places like the cabin need to be put down, “or they will kill you.”

And then Beth has another great idea…

5) Let’s Burn the Motherfucker Down

And so, they splash the rest of the moonshine around the inside of the cabin, light a stack of bills from the country club on fire, and flip a double bird salute to the burning cabin.  Later, motherfucker.

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Daryl has a smile as he walks away…whatever happens hereafter, he will most surely be freed from the past…and who knows what the future will bring?

Until next week, gang.  Wish me luck with my dark and crazy, and enjoy the playlist…

(All images used in this post are screen caps from AMC’s The Walking Dead, and HBO’s True Detective, unless otherwise specified.)

Playlist:

No Doubt  “Just a Girl” (for Beth)

Bittersweet  “Dirty Laundry”

Queensryche, “Silent Lucidity” (for Daryl)

Me First and The Gimme Gimmes  “I’ll Be There”

The Walking Dead, Season 4, Episode 11 “Claimed”

“Claimed”

(All images used in this post are screen caps from AMC’s The Walking Dead, unless otherwise specified.)

I have to admit, people, when I saw the title for The Walking Dead, Episode 11, “Claimed,” I was like, “Claimed? What the hell does that mean?  It was kind of ominous sounding, like some shit was going to go down, in a big way. Was someone going to get kidnapped, killed…claimed?  I was nervous.

Episode 11, “Claimed,” definitely delivered plenty to thrills, chills, and nailbiting moments…and laughs!  (Thank you, Abraham!)

Abraham…that guy rules. He’s not afraid to mess up some walkers, and he’s not afraid to bring the funny.  And I think we could all use a little of that right about now with this show of ours. We’ve hung in, and shit’s been hard, and then now we’ve got Abraham, flanked on one side by his hot woman-comrade, Rosita

(Ok, yes, Rosita happens to be my new girl crush…what of it?)

On Abraham’s other side stands Eugene, of the epic mullet (“The Eugene”)  and the (supposed) walker cure. (And, yes, in that order of importance: epic mullet first, walker cure secondSee, in my world, an epic mullet is a huge achievement and a gift to humankind…to all beings, really…another post for another time.)

Abraham doesn’t have a mullet, but he does have a handlebar, and he’s not afraid to back that shit up while making it super fun to watch. Episode 11 opens with a great shot of a street sign reading:

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Tied to the sign is a colorful blue and red balloon (Spiderman?), a sign of past good times and children’s birthday parties…the balloon floats and bobs in the breeze, as three rapt walkers hiss and paw at it, trying to get it…it’s all red and shiny, and they like that!

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Arrrghhhh!

As Abraham’s massive vehicle cruises by, the walkers immediately abandon the balloon and begin to lurch down the road after the truck.

Riding in the back of the truck, with Glenn lying unconscious beside her, Tara copies down the name of “Crook Rd.”  into her palm,  in black Sharpie marker, adding it to the list of directions she has already written on the back of her hand.

Tara’s all right…she’s got Glenn’s back by keeping track of where they are until he wakes up and decides what he wants to do. The truck stops, coming up to a line of cars, stopped in the road, and Tara is alarmed to see the trio of balloon walkers coming towards the back of the truck, and her.

As the walkers paw at the back of Abraham’s truck, Tara grabs up her assault rifle and prepares to fire upon them, only to be ordered down by Abraham:  “Do not fire that weapon!”

Abraham then climbs out of the truck, and regards the sad walker trio.  His face softens in a mixture of amusement and mock-pity:

Laughs,

Laughs, “Oh, ho, ho, ho, shit! Look at what we got here!”

And then, wielding a crowbar, Abraham steps to the walker trio and proceeds to go to town on them, slashing the first walker across the head with the curved, pointy end of the crowbar, then stabbing the long end into the second walker’s skull:

Gnarly!

When the particularly tore-up female walker approaches Abraham, he laughs at her, “Awww, honey, look at you…you’re a damn mess.”

Who you callin' a mess, asshole?

Who you callin’ a mess?

Tore-Up She-Walker doesn’t quite go down as easily as Abraham had counted on, to his surprise and annoyance.  He tries to spear her in the head, but aims a little too low, merely impaling her onto the truck…

Ha ha, missed my brains...who's the mess now, dick?

Ha ha, missed my brains, missed my brains…who’s the mess now, dick?

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In a great TWD moment, he turns to Tara and motions for her assault rife. “Lemme borrow that for a minute, would ya?” Tara tosses it to him. “Thanks.” Abraham takes the butt end of the rifle and smashes it into Tore-Up She Walker’s skull, spewing her brains all over the truck.

Abraham then turns to the first walker, who is starting to move on the ground.  “And I’m not leaving you out,” he says, and the shot is from the ground walker’s perspective as Abraham smashes the butt end into the walker’s skull, rekilling it, before tossing the goopy gun back to Tara.  He then yanks the crowbar from the female walker’s skull, freeing her body from the truck and causing it to slump in a wet, gory heap on the ground.

Abraham looks totally comfortable doing all this, like a man completely in his element.

When Abraham looks up from his ministrations and sees Tara regarding him, he asks her, “What? What?

“I’ve never seen that before,” replies Tara.  Abraham is confused, looks down at the body of the walkers, then back at Tara. He is puzzled, says, “I’ve seen you do the same thing,” meaning, of course, killing the walkers with the butt end of a rifle, or killing them, period.

“You smiled,” says Tara. “You were smiling.”  Abraham takes a moment to register this, then says, Well, I’m the…luckiest guy in the world.”  And after a brief moment, he says, “Now, why don’t you help me with one of these cars? We’ve got some miles to go.”

Back at the Rick, Carl, and Michonne house, Carl and Michonne are pouring bowls of cereal, which they then eat dry with their fingers while joking about milk.

Michonne asks Carl if he ever tried soy milk. Carl says he tried soy milk once, and almost barfed…he then slips and almost says he’d rather drink Judith’s formula than drink soy milk. Carl stops himself, upset, and gets up from the table, leaves the room.

Rick is in the kitchen when Michonne comes in. He thanks her for making Carl laugh. “I’d almost forgotten what that sounded like,” Rick says. “I can’t be his father and his best friend…he needs you.

Rick motions to Michonne, adds, “I know that’s a lot to throw at you, so let me know if you need a break.”

“I’m done taking breaks,” answers Michonne, quickly, and inside, I was like, Yes!

Michonne then asks Rick what the deal is: Is this house home, are they moving on, what?  Rick suggests they just stay at the house while they figure it out.  He is looking pretty messed up still, leaning on his good leg, facing Michonne in the kitchen.

Michonne looks at Rick, then agrees, saying they will need more supplies, and she and Carl will go out for some.

Rick offers to go with them, and Michonne puts the kibosh on that, says he should stay put and rest another day….if only the poor man could!  Not knowing how short his rest is about to be, Rick agrees with a nod.

I love how out on the porch, as they say their goodbyes for now, Rick picks up on Carl’s sadness, and he asks Carl if everything is ok.  Carl tells Rick he is just tired. Rick is a good dad, attentive and in tune with his son’s moods, his cues. He checks in often.  I like that, and many other things, about Rick Grimes, especially in this episode.

After Rick said his goodbyes, went upstairs, and got into bed, I got a bad foreboding feeling about it all…

I actually typed, Why am I so scared for Rick right now?  Surely there couldn’t be any walkers in any of the rooms… I did have a bad feeling about it all, though.  I typed, What is going to happen?

Meanwhile, walking along, Michonne is trying to draw Carl out. She offers a can of crazy cheese that still has the seal on it. (This episode, of course, sent crazy cheese trending worldwide by the time Talking Dead came on.)  When Carl refuses the delicacy, Michonne checks in with Carl, tells him he doesn’t seem fine when he tries to tell her he is.

Carl tells Michonne what he told Rick, that he is just tired.

Then, Michonne does a hilarious imitation of a walker, squirting her mouth full of crazy cheese and letting it gob out of her mouth, while making walker sounds.  This does not elicit any laughter from Carl, which amazed me, because that shit was funny:

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When Michonne looks questioningly at Carl, he dryly tells her that he was laughing on the inside.  Michonne looks at him archly, then tells him that she had a three-year-old son, and that he found her to be extremely funny.  This of course shocks Carl into silence, and I thought, Man, she is so brave and beautiful…she actually smiles when she says it, too.

Carl of course is full of questions about her son, and her life, before…they have found a house to check for supplies, and Michonne tells Carl that she will answer one question at a time, one room at a time, and only after they’ve cleared it.

Before the commercial break, a shot or Rick, sleeping in the bed, his hands folded over a book on his chest. We begin to hear the rough sounds of men’s voices echoing up the stairwell…Rick is sleeping so soundly at first, he doesn’t stir, but the voices grow louder, escalate.

Then a crash, followed by a raucous cheer, jolts Rick awake, and he realizes in an instant that he is not alone in the house, and that he is in danger.

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On a Talking Dead interview, Andrew Lincoln talked about this scene, and of course I transcribed every word:

“What I loved about this episode is that you see a man that’s very, very scared…It’s kind of my (Rick’s) Mission Impossible, or Escape From Alcatraz…It’s about a man waking up and realizing he’s in extreme danger and very vunerable, and it’s about a man trying to escape from bad people.”

“This is a year and a half into the apocalypse, and we’re beginning to realize that the only people who are scavenging, and left moving, and not in civilization, have to be pretty ruthless, uncompromising human beings…people that would be surviving in this world…murderers, pillagers, vandals, rapists, and he (Rick) realizes instantly that he is in grave danger...There is no safety, out here, any more.”

This scene is so damn scary, I was gulping down chardonnay, and it still wasn’t making it any easier to watch.  What did make it some easier, and completely riveting, was to watch Deputy Rick Grimes once again assess the situation at hand, get himself to a safe place and buy himself some time, and begin the “Mission Impossible” of getting himself out of that house, and intercept Michonne and Carl, before they too walk into certain danger.

In this case, Rick wakes, listens, checks Carol’s watch, and quickly and quietly gets himself under the bed when he hears one of the men coming up the stairs. Rick even has the presence of mind to bring the watch, book and his water bottle under the bed with him (of course, probably to hide the evidence that someone else had been there, but you know, it could be a while, and those things would be good to have if you were going to be there for a long time!)

It is a taut, nervewracking scene when Rick is hiding under the bed, sweating, watching the boots of one of the Downstairs Thug Boys pacing around the bed he is hiding under. We see the tip of the DTB’s rifle, his boots stopping, then pacing around…he checks the closet…under the bed, Rick presses his palm over the ticking watch face in his hand to muffle the sound.

Around the bed, boots pace, pause. Then, the mattress above Rick sinks down almost upon him, pressing him a little further down into the floor, as the DTB climbs into the bed. (Apparently, being a loud douchebag in the zombie apocalypse is hard work, and someone needs a nap.) 

OMG, Rick is probably really missing his nap right about now…

Back at the supplies house, Carl is pressing Michonne, asks her son’s name, pointing out that the room they are in is actually two separate rooms, and they had already cleared the other one. Michonne hesitates, then answers, “Andre.  His name was Andre Anthony.” Her voice is a little tight as she says it, and I realized that it was probably the first time she said her baby’s name aloud in a long time, if maybe ever, since losing him.

Ugh, the mom in me gets so upset with this stuff...it’s the worst thing imaginable.

Michonne tries to lighten the moment by telling Carl to make sure there isn’t a box of cookies under the whatever, and wanders out of the room.  Carl follows her in the hallway, asks her how long it’s been…Michonne tells him it happened “after everything happened.” Michonne tells Carl that she has never told anyone, until just now.

Carl is so sweet when he replies, “Your secret’s safe with me.”

“It’s not really a secret,” says Michonne.

Carl smiles, says, “It’s still safe with me.”  (Cute! I really love these two as buds.)

Then the sweet scene turned into a pink nightmare…the mom that had to shoot her four kids, then herself, in the heads to escape from the nightmare that the world had become. Let’s just scan through the pictures of that one and move on, shall we?

Michonne sees the scary painting, foreshadowing the horrible scene she is about to witness...

Michonne sees the scary painting, foreshadowing the horrible scene she is about to witness…

She enters Mae Mae's room and once again must bear witness to tragedy...

She enters Mae Mae’s room and once again must bear witness to tragedy…

“Shhhh…Mae Mae is sleeping!”

Two sons, I think...so awful

Two sons, I think, or maybe a son and the dad…so awful.

And finally, the poor mom, who turned the gun on herself last...

And finally, the poor mom, who turned the gun on herself last..

Ugggh. Another artistically amazing scene, complete with haunting music by Bear McCreary, that messed me up for a bit.

I think about those kinds of scenes too much, dwell on them, like, “Maybe they were sleeping when she did it, but how could she shoot all four of them before they woke up? Maybe she drugged them, or poisoned them…ugh, she was probably crying when she did it.” I have an overactive imagination, people, and it doesn’t matter that it isn’t real…I still obsess.

Kendall-Jackson, take me away!

Michonne closes the door of the Pink Room of Horrors behind her and presses her back to it, blocking Carl from seeing this heartbreaking scene.  Once again, Michonne does exactly what needs to be done, as Carl says, “There’s a baby in there…” and quickly, Michonne says, “It’s a dog.”  Carl seems satisfied with this answer.

As they turn to go, Carl shyly ventures to Michonne that maybe Judith and Andre are together, somewhere.  Michonne smiles at this thought, says, “C’mon, it’s time to go.”

Meanwhile, back under the bed, the shit is getting even more fucked up and surreal as one of the other DTB’s strides into the bedroom and announces his rights to the bed that the other dude is napping in.  The current occupant of the bed replies that this bed is “claimed,” solving the mystery of the episode’s title.

A scuffle ensues, ending with one guy choking the other guy on the floor, who stares wide-eyed at Rick as Rick watches him, head cocked to the side, as the guy loses conciousness:

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I love this look on his face as he watches the dude fade out

I love this look on his face as he watches the dude fade out.

I am not sure if the dude passes out or dies, but that seems like a bad call, choking your compadre to death, leaving his body on the floor, and taking a nap while he reanimates and chomps you in your sleep. Anyway, it is clear that these guys are total dicks. The other dude, the Mattress Victor, collapses into the bed, sinking the boxspring even deeper into poor Rick’s back. Christ!

Meanwhile, three hours away and counting, as Abraham’s truck hauls ass down the road, Glenn is freaking out.  Tara has just told him that they passed the bus three hours back, and everyone around it was dead.  Glenn is getting farther and farther away from Maggie, and he needs to get back.  He bangs on the back windshield of the truck, yelling for Abraham to stop. When that fails, Glenn takes the butt end of the rifle he is holding and rams it into the windshield…that gets Abraham’s attention.

The truck stops and Glenn gathers his things, begins to walk away from Abraham and Co., down the road.  Tara follows him, tells him she has written the directions on her hand and can get him back to the bus.

Tara is awesome, but I think her motivation more than anything is to try to make things right as much as she can, as she did play an active role in getting them so fucked up as they are now. She is having a hard time forgiving herself.

Abraham tries to impart some of his epic Abrahamisms on Glenn, to get him to abort his mission to find Maggie and help them with theirs. Abraham presents Eugene, the scientist who supposedly knows how the zombie mess all got started, and who is bringing the cure to Washington D.C., or at least his insights, anyway.

Until recently, Eugene and Abraham had been keeping contact with “the muckety-mucks” in Washington, but now, when they try to call the nation’s capitol, nobody is picking up.  Not a great sign.

Glenn is digesting this all, including Eugene’s telling him the walker cause/cure information is “confidential” when Glenn asks about it. It’s like, everything is just getting weirder and weirder all the time, and it’s like Glenn can’t really fight it anymore, so he’s just going with it.  

He tries to be cool, like, “Ok, well good luck with that, gotta go try to get back to my wife,” and Abraham turns on the hard-sell, some shit like, “It’s tough to watch the ones you love kick it,  but you don’t gotta go out like that.  Come save the world and do something with your life.”

And Glenn takes off his packs, turns to face Abraham:

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And coldcocks Abraham! I love when Glenn goes off. Michael Cudlitz (Abraham) said on TD that the element of surprise got Glenn one good shot on a man who was much bigger than him.

And coldcocks Abraham! I love when Glenn goes off. Michael Cudlitz (Abraham) said on TD that the element of surprise got Glenn one good shot on a man who was much bigger than him.

Of course, Abraham does not let such acts go unchallenged.  He tackles Glenn, and is clearly winning the fight when Eugene calls to them that they have company:

Ummm, guys? Hello...!

“Ummm, guys? Hello…!”

Enter Walkers of the Corn!

Enter Walkers of the Corn!

Eugene tries to take matters into his own hands, fumbling with his assault rifle and basically shooting everything up around him except the walkers, including the gas tank of Abraham’s truck. D‘oh!

The gunfire alerts the gang, who abandon the fistfight and begin to join forces, shooting up the walkers together…they all look like badass warriors, except maybe Eugene…his mullet’s still pretty epic, though.

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Once all the walkers are dead, Abraham sees their other problem:

“Son of a dick!” (Best line ever!)

Meanwhile, back at the DTB house, Rick has managed to slide quietly out from under the bed and creep into another room, the kid’s room that Carl had checked out in Episode 9, when they first got to the house.  Rick ducks into a small side room when one of the douchier, louder DTB’s comes into the room and stands just on the other side of Rick, bouncing a tennis ball between two windows…again, and again, and again.

Ugh, douchebag.  I mean, why? Why do that?  It’s fucking annoying, and I am not even really in the room.

Or…am I?

While that guy is working on claiming the title of The Douchiest Man Alive, Rick Grimes is claiming the title of The Hottest Man Alive as he waits…and listens…and monitors...and improvises.

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Once again, Rick-In-Charge brings it, people.  Undetected by the ball-bouncing DMA, Rick stealths his way to the bathroom, and finds some big ol’ Downstairs Thug Boy sitting on the toilet seat, reading a comic or some shit.

I was thanking Baby Jesus that the toilet guy wasn’t getting down to some serious business in there, with his pants down, or the following scenes would have been super awkward:

Awww, dude...wrong place, wrong time, wrong man to be on the wrong side of...sux 4 u!

Awww, dudewrong place, wrong time, wrong man to be on the wrong side ofsux 4 u!

Here comes the beat down...

Here comes the beat down…

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Rick doing what needs to be done.

As Rick grabs the man's gun and prepares to go out the bathroom window, he goes back to crack the door of the bathroom open, to set a

As Rick grabs the man’s gun and prepares to go out the bathroom window, he goes back to crack the door of the bathroom open, to set a “walker time bomb” onto the Downstairs Thug Boys once the dead guy reanimates…tactical genius, Rick Grimes-style!

Rick manages to get out onto the roof, with a shoulder pack and a gun…

So pimp, Deputy Grimes!

So pimp, Deputy Grimes!

(Doing his own stunts, Andrew Lincoln lowered himself from the roof in that scene, dropping onto the porch below…later, he said in an interview that the most distracting thing about shooting that scene was Norman Reedus mooning him  from below…those wacky hot guys!)

Rick ends up crouching beside the porch, with that loud douchey guy above him eating the crap outta some can of food. He’s so annoying, he’s even doing that loudly…rattling the damn fork against the sides of the can. (Baby Jesus, please make it stop!)  Rick peers around the corner and sees Carl and Michonne, walking up towards the house.

They are still some way away, so the loud DMA guy doesn’t see them, yet… Rick knows it’s now or never, grips his gun and reaches up, gripping the corner of the house, about to pull himself up and make his move when a scream comes from inside the house…it seems Rick’s “walker time bomb” has reanimated and make its presence known and is going nucking futs in the house…yes!  

Thank you, Baby Jesus!

The DMA guy drops his can and runs into the house, and Rick runs towards Carl and Michonne, tells them to run, which they do, away from the house.

Rick has done it, gotten away from the bad guys against almost impossible odds, and now he, Carl, and Michonne are able to haul ass out of there.

Let’s all give it up for Rick Grimes, ladies and gentlemen!

Meanwhile, hours north on the lonely road, flanked now by a dead truck on one side and dead corn walkers on the other, Abraham has just asked Eugene how the hell did he manage to kill his truck?

Eugene looks away, mumbles something about not quite being familiar with the weaponry…he’s lucky he has Abraham buying his story and serving as a burly-chested, fire-haired bodyguard.

Abraham even takes the barb as Eugene tells him, “Trust me, I’m smarter than you.”

Not when it comes to firing an assault rifle, you’re not, Eugene!

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Rosita says, “Fuck this. I’m going with the young, hot people and follows Glenn and Tara.

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Hey…wait for us!

I couldn't tell if there was a ghost of a secret smile on Eugene's face as they begin to follow Glenn and the gang...what's that guy up to? (I miss Milton!)

I couldn’t tell if there was a ghost of a secret smile on Eugene’s face as they begin to follow Glenn and the gang…what’s that guy up to? (P.S. I miss Milton!)

As they follow Glenn, Abraham goes along with it,  but does bitch to Tara about how they could be saving the world right now, instead of trying to find some guy’s wife.  She basically calls him out, tells him his bullshit won’t work on her.  Ha! I sense fun interactions ahead with these two.

Rick, Carl and Michonne are walking on the train tracks…they spot the banner for Sanctuary draped on a train car.  The banner boasts its trademark claim: “All who arrive survive.”

Michonne looks questioningly at Rick, who says immediately, “Let’s go.”

Man, it looks like on next week’s previews that Daryl and Beth are encountering some shit on their journey…if I think of it now, they seem to have headed in the opposite direction of the way to Sanctuarygulp!

Until next week, and enjoy the playlist:

Playlist:

Wax Tailor,  “Que sera”

Eddie Vedder, “Rise” (for Rick, and all the prison peeps)

Social Distortion, “So Far Away” (for Glenn and Maggie)

The Walking Dead, Season 4, Episode 10, “Inmates”

“Inmates”

(All images used in this post are screen caps from AMC’s The Walking Dead, unless otherwise specified.)

Those of you who actually read my recent pre-season post, “What Happens After”?  may remember my telling you about The Law of Kirkman, which basically states that Kirkman will do as Kirkman pleases, and Kirkman and Co. can, and will, play with our emotions.

Nothing personal; it’s just how he do…well, he and Gimple and the rest of the WD gang, anyway.

I have wondered lately about how the whole Kirkman and Gimple relationship works…are they like Batman and Robin, or are they more like The Tick and Arthur? Maybe they really complement each other and are actually more like The Wonder Twins, with special rings and shit…I don’t know, but what I do know that they are pretty much kicking my ass right about now.

Back after mid-season finale, when Chris Hardwick asked Robert Kirkman on that night’s Talking Dead about the possibility of Baby Judith still being alive, I really thought Kirkman was scoffing and laughing at us sentimental fools: “There was a lot of blood in that car seat!”  I thought, “Oh, man, poor Baby Judith’s a goner for sure…” My WD buddy’s friend, Neil (the originator of The Crazy Carol Theory) even read some interview where somebody from the show said that it was “unrealistic” for the story line to keep her alive.

Now I know that what Kirkman and Co. were really doing was bluffing… and playing with our emotions.  Now I know why Chris Hardwick yells, “Kirkman!!”

Yesss, Precious, the Kirkman is tricksy, yes it is….it tricks and teases us, yessss it does, Precious….

(Despite my mock protests, I am loving every minute of Kirkman and Co. slapping us up like the baby bitches that we are.)

In Season 4, Episode 10“Inmates,”  Kirkman and Co. proved once again that they are masters of their domain by throwing down five game-changing plot developments in a single episode…Baby Judith is alive, whabam!   Carol is back, whabam!   Glenn wakes up at the freaking prison, and after indulging himself in a brief tearful moment in his old cell, looking at a polaroid of Maggie, he squares his shoulders, gathers supplies, suits up in riot gear to make his escape through the horde of prison walkers, and finds Tara having an existential crisis moment in the fenced garden area..whabam!

And to top it all off like two crazy cherries, Lizzy is a major psycho (as we all suspected), and at the episode’s end, a catalytic and iconic character from the WD comic series, Sgt. Abraham Ford, enters the arena with the line (to Tara), “You got a damn mouth on you, you know that?  What else you got?”

All I can think of to say is, “Thank you, Kirkman, may I have another?”

Inmates”  opens in a haunting sequence showing Beth and Daryl running for their lives through the woods, pursued by a large group of walkers.  Beth’s voice comes over the slow-motion, dream-like sequence, reading aloud a diary entry from their early days of the prison, when Lori was still alive and expecting her baby any day…Beth addresses the diary like an old friend:

“Hey… I know it’s been awhile…I gotta be honest. I forgot about you. After the farm, we were always moving. But something happened…something good…finally.  We found a prison…Daddy thinks we can make it into a home. He says we can grow crops in the field, find pigs and chickens, stop running, stop scavenging…Lori’s baby’s just about due…she’ll need a safe place when it comes…the rest of us, we just need a safe place to be.”

Still running through the woods, Beth is surprised by a walker…She points her pistol and tries to shoot, but is out of bullets. Daryl is there, shooting an arrow through the walker’s head, bashing another walker’s head open with the swift upswing of his crossbow, and planting his foot into the third walker’s belly and shoving it down to the ground. This gives just enough time for him to do a quick touch-check with Beth, grab his arrow from the walker’s skull, and then they must run, run from the walkers, who seem to keep coming and coming.

Beth’s voice-over continues, “I woke up in my own bed yesterday…my own bed…in my own room.  I’ve been keeping my bag packed, keeping my gun close…I’ve been afraid to get my hopes up…that we can actually stay here.  The thing is, I’ve been starting to get afraid that it’s easier just to be afraid. But this morning, Daddy said something…”If you don’t have hope, what’s the point of living?” So, I unpacked my bag….and I found you. So I’m going to start writing in you again.”

Finally free of the walkers, hidden in the underbrush, Beth and Daryl collapse onto the ground, exhausted and winded.  They have been running since the prison’s collapse, and the shot pans in closer to them, as Beth’s voice-over continues:

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“And I’m going to write this down now, because you should write down wishes to make them come true…we can live here.  We can live  here for the rest of our lives…”

Early next morning, before sunrise. Beth and Daryl are sitting on opposite sides of a tiny fire.  Daryl’s face is stony, and it feels like he may be shutting down inside, retreating back into his former persona of a lone tracker/hunter. Beth sits forward, looks at Daryl.

“We should do something,” she says.  No response from Daryl, so Beth says it again. “We should do something.” Daryl just looks up at her, says nothing. “We aren’t  the only survivors…we can’t be….they could be out here…You’re a tracker, you can track…..c’mon, the sun will be up soon…if we head out now…”  Beth stands above Daryl, waiting for him to answer. In response, Daryl does nothing, says nothing.

Beth has had enough.  She snatches up her knife, says, “Fine.  If you won’t track, I will.” She stalks off, and of course, after a moment’s hesitation,  Daryl must get up and follow her.

While I was initially resistant to the possibility of Daryl and Beth getting together, seeing how they interact in these scenes made me realize that I actually like them together. Beth has a brave honesty about her, and she not afraid to speak her mind and call someone out if need be.  But Beth is also young, with an artist’s sensitivity, and I think both her fire and her vulnerability would help to draw Daryl out a little.

Daryl has always had a youthful, childlike way about him, and I could see him being able to relate to Beth as a girlfriend…she is a good combination for him…she has a sweet innocence and openness about her, but she’s definitely seen some shit and has the strength and smarts to have survived this long.  In that way, Beth and Daryl have a lot in common.

And, honestly, while there are many of us out there who consider Daryl Dixon our pretend boyfriend (or, one of our favorite pretend boyfriends), we can’t bogart the Daryl, people. The way I see it, the only thing worse than Daryl having a cute young girlfriend is Daryl not having anybody to love at all…he is way too hot for that.  Daryl deserves love, something sweet to keep him going.  At the very least, Daryl needs a hobby, and saving Beth from walkers seems to be becoming a full-time job for him. Beth is good for him, and if I’m right, I think love is blossoming already between the two. I smell lovers.

I really liked the scene when they find some signs of others, and Beth tells Daryl to have a little faith, and Daryl responds with some shitty remark, “Faith…faith ain’t done shit for us, and it sure as hell didn’t do nothin’ for your father…”

It’s too mean, and they both know it. Beth gapes at him, while he looks shamefacedly back at her. She blinks back tears, turns away from Daryl with the pretext of gathering grapes for the others, who will probably be “hungry” when they find them. Daryl gets this sweet, regretful (totally hot) look:

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Then, in a gesture that is both tender and totally manly, he pulls a clean bandanna from his back pocket, shakes it out, and holds it out to Beth, who is still turned away from him. He gently nudges her arm with the bandanna, and after a moment, Beth slowly turns and takes the bandanna from him, and begins to put the grapes she is gathering into it.

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I texted my WD buddy, I officially approve of Beth as Daryl’s girlfriend, to which she replied, in emoji, a thumb’s up, followed by two hearts.  It’s official:  We approve.

A few moments later,  Beth and Daryl work seamlessly together to kill Pop Walker, who reanimated after getting chomped by the rails. In the times of post-zombie apocalypse (PZA), killing a walker together is like PZA foreplay. Beth and Daryl go down to the railroad tracks to find more walkers, crouched and eating human remains. Daryl makes quick work of the walkers, who are intent on their grisly feast.

Owwww...my head!

Owwww…that hurts!

When Beth surveys the carnage, she a child’s shoe that resembles the shoes Mika was wearing. Beth breaks down in tears.  More shots of Daryl, looking super fine in his sleeveless vest, walking along the tracks, then looking back at Beth, at a loss for how to comfort her:

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Daryl was looking so fine in this scene that I paused the dvr and went to find my husband for a quick

Daryl was looking so fine in this scene that I paused the dvr and went to find my husband for a quick “writing break…” sorry for the TMI, but that man is just damn inspiring.

That night, as Beth and Daryl sit across each other at a small fire, Beth rips pages from her diary and throws them into the flames. We hear her voice-over, reading the last of her diary’s entry:

“We’re not going to die…none of us…I believe now…I believe for Daddy, if this doesn’t work, I don’t know how I can keep going…”

Unbeknownst to Daryl and Beth, the sites and areas they have been tracking were the ones traversed only hours before by Tyrese, Mika, and Lizzy…carrying an unexpected surprise survivor:

Somebody get that man an Ergo baby carrier!

Somebody get that man an Ergo baby carrier…

Baby Judith!  I was alternately relieved and completely freaked out by the realization that Baby Judith was alive…it was like, “Oh, yay!” and “This sucks!” all wrapped up into one. My WD buddy texted,  I am so over worrying about Baby Judith, and then she was gone, for like 10 minutes. I was a little worried at first, but I know how we are about this show…she needed to go process for a little bit.  Been there, done that.

She texted me, once she recovered,  It was so much better for me thinking she was dead.   I get it, I really do.  My WD buddy and I are both moms, and worrying about Baby Judith’s survival brings it all a little too close to home.

I basically decided in that moment that it was time to start drinking in earnest, so I poured myself another glass of pinot noir…I am glad I did, because it was right at the scene where it’s night, and Baby Judith is crying (and teething up a storm, it looks like), and Tyrese is trying to calm the baby…Mika is fearful that the crying will alert walkers, and Lizzy looks down at the log she is sitting on and discovers:

Bunnies!

Bunnies!

And in a silent and horrifying sequence, Lizzy pulls out her knife and goes to town on the bunnies, while the camera holds the shot on her face as she makes quick work of them with her knife:

What the hell, Lizzy?

What the hell, Lizzy??

Well, it seems pretty apparent to me at this point that it was probably Lizzy who was creating the fucked-up rabbit dissection art and feeding rats to the walkers, back at the prison. A couple of my Walking Dead-Obsessed friends have been pretty certain that it was Lizzy who killed Karen and David.  They think that Carol discovered what she did, dragged out and burned the bodies, and tried to cover up for Lizzy, getting banished by Rick in the process…fascinating, right? That would morph The Crazy Carol Theory into a whole new theory, The Crazy Lizzy Formulation.  We all know that Lizzy is crazy…the question is, just how crazy is she?

Pretty freaking crazy, it turns out, as she and Mika are left by Tyrese to stand back-to-back in the woods, Lizzy holding Judith and Mika holding a gun, to defend themselves against potential walkers while Tyrese goes to help whomever is screaming, someone presumably under walker attack.

Poor Judith begins to cry, and Mika pleads with Lizzy to please try to keep the baby quiet.  Lizzy puts her hand over Judith’s nose and mouth, and she starts to get that intent, crazy look as she continues to press down, beginning to suffocate poor Baby Judith.  Meanwhile, a couple of walkers approach Mika and Lizzy, snarling and hissing. Mika’s eyes grow wide with terror and she points the gun up towards the walkers, shaking…

While watching this scene the first time, I actually typed the line, “Oh fuck, Lizzy, don’t kill the baby!”  I would like to take this moment  to nominate Brighton Sharbiro, the beautiful young actress who plays Lizzy, for a “Deadie” for a great performance in this episode, and, in general, for taking on such an intense and complex role as Lizzy.

Down by the railroad tracks, battling walkers, Tyrese hears the gun shot, and when he turns, he is surprised by yet another unexpected survivor:

Carol!

Carol!

I have to tell you, I don’t know if I have ever been so glad to see someone as I was to see Carol in that moment, holding Baby Judith (who looked super-relieved to be away from Lizzy, I might add).  Carol looked a bit nervous when Tyrese rushed up to give her a big hug, but recovered herself quickly enough to lie about her whereabouts when the shit went down between the Gov and the prison peeps.

After the lies and the pleasantries are exchanged, Carol and Tyrese approach the poor bitten father, who is crying over the body of his son, who was bitten and killed by the walkers.

This scene definitely messed me up a bit, as the walkers definitely are scoring some mad kills and general scariness points so far in these mid-season episodes.  The poor young son fought valiantly, but those damn walkers and their singular, undead purpose (to chomp the living) just keep coming and coming…the poor dad tells them to follow the tracks, that there is a safe place there to take the children…they leave him crying over the dead body of his son…he will soon die himself, and reanimate in a few hours as Pop Walker, and get rekilled by Beth and Daryl.

Carol, Tyrese, Judith, and the girls take Pop Walker’s advice and walk along the tracks for a bit, Lizzy and Mika walking ahead, holding hands. Lizzy spots a sign, and they read:

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Lizzy looks at Tyrese and Carol, who give a smile back, but seem hesitant to believe what seems too good to be true.

Meanwhile, Bob is loving being alive, chilling with two fine babes, Sasha and Maggie, getting his shoulder wound cleaned and bandaged up by Sasha while Maggie morosely carves into a large rock and looks at the engagement/wedding rings on her ring finger. Bob allows himself a smile, which Sasha sees. “It’s ok, smile if you want to…I get it, you’re alive…”  It’s actually nice to see Bob lighten up for a change.

Maggie is not giving a fuck about anything right now…she wants to go find Glenn. She tries a, “Nice spot, see ya, going to find Glenn now, and we’ll come back for you.” Sasha and Bob try to talk her out of it, but she will not be swerved from this plan.  She is going to find the bus, and Glenn.  Sasha tries to tell her, “We can’t split up!” as Maggie walks away.  Bob gets up and begins to follow Maggie, and at Sasha’s “WTF?” look, he shrugs and cheerfully echos, “We can’t split up!”

Bob and Sasha have a little back and forth as they walk behind Maggie, and Bob says that he is done with just surviving…he seems to want to embrace truly living for a change. Maggie spots the bus, which has run off the road, and of course, is full of walkers.  (Ha, it’s a busfullawalkers! Drink one if you got one!)

After stopping Maggie from charging right into the back of the bus to see if Glenn is on it, Bob and Sasha help her come up with a system to let the walkers out, one at a time…easier to manage, and less cleanup that way!

Maggie squares off with each walker as they emerge from the bus, one by one, looking majorly beautiful and badass in that fierce Lauren Cohan way she has…

My buddy says Lauren Cohan comes into his coffee shop in Atlanta, and that  she is just as beautiful in real life...even on the run from zombies and grief-stricken, Maggie is gorgeous.

My buddy says Lauren Cohan comes into his coffee shop in Atlanta, and that she is just as beautiful in real life…even on the run from zombies and grief-stricken, Maggie is gorgeous.

One by one, the walkers come out, and one by one, Maggie takes them down:

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The press of the walkers becomes too much, and Sasha and Bob cannot hold them…the walkers come flying out in a rush, and Maggie goes in some inner slo-mo moment as one walker comes lurching towards her.  Bob takes it out with a single shot to the head, jolting Maggie out of her reverie.  She then seems to take all her pent-up emotions out on the walkers, bashing one walker’s head into the bus again and again…

I called this walker Bitch Slap Walker at first, but Talking Dead's name for her, Headbanger Walker, is so much better!

I called this walker Bitch Slap Walker at first, but Talking Dead’s name for her, Headbanger Walker, is so much better!

Maggie still has to know if Glenn is in the bus…so she goes in. The bus seats are covered in blood and gore, and flies are buzzing.  I always try to imagine how it must smell…must be godawful.  There is one male walker at the far front of the bus, hard to see, but with dark hair…Maggie fears it may be Glenn, and upon discovering it isn’t, slumps into a seat and dissolves into a mixture of helpless tears and relieved laughter. Poor Maggie!

And poor Glenn, who wakes to find himself at the prison! My WD buddy texted me, Wasn’t expecting that!

Me neither.

Damn!

Damn!

Glenn gets himself to his old cell/room, and takes a moment to process this…the interior of the prison actually looks pretty solid, making me wonder if it really was such a lost cause after all…it seems a lot better than the prison gang fending for themselves out in the wild.  But, I guess the walls are probably breached somewhere, and the fences are surely shot to shit, so I guess it is time to move on.

Glenn seems to decide this as well…after taking a moment to process it all, he seems to invoke his inner badass, collecting supplies from around the prison (including the makings for a molotov cocktail, thanks to Bob’s bottle of liquor and a working lighter).

I love when Glenn invokes his inner badass…remember the interrogation room battle with the walker, then the battle with Merle, then the escape for himself and Maggie he orchestrated? I am a big fan of Glenn when he goes off.

I also love this part, when Glenn suits up in the riot gear and emerges to fight his way through the walkers and escape the prison:

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Riot Glenn!

Enter Riot Glenn!

After charging the first line of walkers, Glenn finds Tara getting meta in the garden. She is hating herself, mourning the loss of her sister, niece, and girlfriend…she cannot forgive herself for believing the Governor’s lies and blindly following in what turned out to be a suicide mission.  Glenn isn’t having it, tells her he needs her help.  He fashions a molotov cocktail with Bob’s bottle of liquor and buys them a clear line out of the prison.

Once they reach the road (a sign, riddled with bullet holes, warns motorists that hitchikers may be escaped inmates from the prison), Tara wonders how Glenn can trust her, and he basically tells her that he needs her to find his “wife,” Maggie.  They are rushed by walkers, and Glenn manages to kill one but is struggling to fight off the others in his weakened state.  Tara rushes forward and stabs one walker, then bashes another’s head open with repeated blows with the butt end of Glenn’s assault rifle.  In the midst of this carnage, a super-style military Hummer-type truck pulls up…Tara looks up in alarm, and tries to cover her fear with mock bravado: “Hope you enjoyed the show, assholes!”

Leading with his massive chest, assault rifle in hand, Sgt. Abraham Ford steps around to the front of his massive vehicle, flanked by a man and a woman:

Enter Abraham and Co.!

Enter Abraham and Co.!

“You got a damn mouth on you, you know that?” he asks Tara. And then, with a smile at his own private joke, he asks, “What else you got?”

Aw, shit…it’s Abraham! 

Until next week, gang….

Playlist: 

West Indian Girl, “What Are You Afraid Of?”

Of Monsters and Men, “Dirty Paws”

Coldplay, “Clocks”

Walking Dead, Season 4, Episode 9, “After”

“After”

(All images used in this post are screen caps from AMC’s The Walking Dead, unless otherwise specified.)

Sunday night, after I set up my beverage and laptop situation on the convertible coffee-table,  I sat back to watch the last moments of Too Far Gone, the mid-season finale of The Walking Dead, Season 4, and ease in with my first Stella of the evening. I thought to myself, “Ok. I can do this.”

Too Far Gone…it was the second time I’d watched it in the past 24 hours. Wrenching. That’s why I got the Stellas, and they were doing exactly what they were supposed to do, going down like cold liquid gold and giving me a little more courage with every sip… I watched Lilly, standing over the the Gov, pointing, firing and rekilling his ass, and there was Creepy Clara Walker, making quite a lovely zombie and shuffling towards the burning wrecked prison with the rest of the horde…Carl and Rick were arm in arm, holding each other up as they climbed a steep hillside and away from the burning wreckage of the prison, which was being overrun with walkers.

Carl turns for a last look, Rick tells Carl,  “Don’t look back…Carl…just keep walking.”

Ughhh….so heartbreaking…really hard to watch, every time.

The Stella does  help, some.

“After”

I loved the opening shot, an aerial view of the burning prison, smoke billowing upward as the prison is overrun with walkers…I was particularly drawn to the stark image of the watchtower burning…

My WD buddy remarked,

My WD buddy lamented, “Oh, no, Glenn and Maggie’s love nest! 😦

Then, the camera pans down closer and closer to the level of the walkers, and the dead bodies of the fallen, including a shot of Michonne’s horse, dead and opened and disemboweled, and then a sweet shot of the dead Gov:

R.I.P. Gov, you dick.

R.I.P. Gov, you dick.

Then our first glimpse of Michonne, a shot of her hand on her katana:

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Michonne once again is the lone observer, surveying the burning wreckage of the prison which had, only hours before, been home to herself and her people …It is nearing sunset of a day which began with her laughing and driving with Hershel into the woods to dispose of a pile of walker bodies, and ended with Hershel’s murder and the senseless massacre and destruction of the prison.

Michonne’s face is stony, her fury shows only in the speed of her katana as she swiftly beheads any stray walker who steps too close. She then spies two reanimated goons from the Gov’s army, baits them into spearing themselves on the Morgan-style wooden spikes placed in front of the prison fencing, and fashions herself two new walker “pets”:

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And then, a few yards away, she makes a grisly discovery:

I knew the Gov didn't finish the job and give Hershel a proper rekill... such a dick!

Hershel’s reanimated head!  Aaaghh!  I knew the Gov didn’t finish the job and give Hershel a proper rekill… such a dick, Governor!

Greg Nicotero, who directed “After,” said later, on Talking Dead, that Michonne went back to the prison for the express purpose of finding Hershel and taking care of him if needed…Danai Gurira, who plays Michonne, was also a guest on TD and  gave many insights into Michonne’s character and motivations. (Last night’s TD was pretty much one of the best, ever, in my humble opinion. Greg Nicotero, Danai Gurira and Chris Hardwick, hashing it all out…no rambling, no bullshit…TD, straight up…and sweet new haircut on Chris Hardwick…looking good, bud!)

Danai Gurira said that it is a key part of Michonne’s character that Michonne always steps up and does what “needs to be done” in a given situation…in this case, she takes but a moment to digest the horror of Hershel’s reanimated head lying in the grass before her, and then:

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Michonne grips the handle of her katana in her right hand and drives the blade into Hershel’s skull, rekilling him.  Then, she puts her hand gently on Hershel’s temple, and holds it there for a moment before pulling the blade out..

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Once again, Michonne swiftly adapts to the situation at hand… With a few strokes of her katana, she fashions new walker pets, leashes them up, then finds and rekills Hershel. However, the way she plays the scene, Danai Gurira’s amazing performance allows us to see flashes of Michonne’s pain and grief as she forced back to her former survival style, from the days before she found Andrea…but we know that Michonne has evolved past that place…the conflict shows in her face, but for now, she is doing what needs to be done to survive and bide her time.

I knew when I watched Too Far Gone that the Governor did not rekill Hershel properly to prevent him from reanimating into a walker.  I saw him slice into Hershel’s neck, then I saw him go after poor Hershel and chop at him, severing his head, but I never saw the Gov finish the job. I watched that episode many times, and came up with the same worry each time, that Hershel’s head would reanimate if he hadn’t gotten a proper rekill, and one cannot count on the Gov to do the honorable thing when he fells someone he feels is his enemy.

The Gov always did that…he decided who he was going to give a proper rekill to, and who he would leave to reanimate, like the final “fuck you” to his fallen adversary…remember poor Sweet Walker Pete, still chained to the bottom of that dead lake, vainly trying to claw his way out?  We all remember how it went down with Merle. The Gov was super pretty, but he was a super dick…that’s always a terrible combination…such a waste.

The Hershel scene did kind of mess me up at first, but my WD buddy put it all into perspective, as she invariably does… when I texted how bummed I was about Hershel’s head, she texted back:  I didn’t think it looked so believable, like not the best effects or whatever. Ha!

Later, on Talking Dead, Greg Nicotero presented his “gift” for the show, dumping the prosthetic Hershel head out of a bag and onto the table. He then started to make it move, the mouth opening and closing, while Chris Harwick fake-yelled at him, “You are a bad man!”   Then, Chris Hardwick started feeding the prosthetic Hershel head spoonfuls of chocolate pudding from a giant can of pudding like Carl’s from later in the episode.

(Btw, eating pudding was trending worldwide by the end the season premiere showing of After”. )

Later, Talking Dead’s eulogy to Hershel in the In Memoriam segment read:  Hershel: You may have lost your leg, and your head, but you never lost your dignity…RIP…Again.

(The only reason I am ok with any of this is that I know Scott Wilson is in on the joke.)

Now, onto Carl’s teenage angst.  Chandler Riggs also threw down an amazing performance in this episode, his best yet.  Greg Nicotero said that this episode (at least the storyline between Carl and Rick) was taken pretty directly from The Walking Dead comic series, Issues # 49-50.  This episode was also infused with many scenes and moments of improvisation by the cast and crew, making the feel of it very organic and believable.

(You may at some point get sick of me starting sentences with , “Greg Nicotero says…” Sorry about that…needs to be done.  The man is head makeup and effects, executive producer, and director.  he’s everywhere.)

Carl and Rick are walking down a road, and Carl is walking ahead of Rick. He’s pretty much being a dick to his dad,  who limps behind him, stuggling to keep up. Carl’s pissed, and he’s a teenager, and nobody can really blame him for either of these things, especially in this moment.  But poor Rick is so messed up…he’s trying to call to Carl, trying to tell him to slow down. Carl is pretending he can’t hear Rick, even though Rick is wheezing and can barely get the words out. Teenagers!

What’s up with Rick’s breathing? my WD buddy texted me. I didn’t know, but I was worried.  If the Gov broke one of Rick’s ribs in the fight, that could turn really bad.  A broken rib makes it really painful to breathe, and a broken rib could puncture a lung.

Then, I saw that Rick had ripped off one of his sleeves to make a tourniquet thing for his wounded leg, and I was grateful for the view of Andrew Lincoln’s elegantly muscled arm…it made me feel a little better.

At first, Rick tries to placate his angry, hurting son by telling him what he always tells him, that things are gonna work out, that they are gonna be…he starts to say “ok”, or “fine,” but Carl’s shoots Rick a look, and Rick can’t finish the sentence…it’s like, Just shut up, dad…you look like shit, your face looks like shit.  Just shut up.

The ensuing scenes between Rick and Carl are a tense back and forth between a father and his teenage son… Rick (who is miraculously still standing and functioning, somehow) is trying to reassert himself as the leader and the authority figure in their dynamic, but he has lost some of his former standing in his son’s eyes, and so Carl resists him at every turn.  They bicker while taking down a walker together, and the act of gathering provisions becomes a contest to see who can get the most and “win.”  Rick seems as vested in the contest as Carl is, which makes the scenes even more believable and uncomfortable to watch.

Down the road a ways, Carl once again walks ahead of his father while letting his father carry the bag of provisions, even though it looks like Rick can barely stand, let alone walk…Rick weakly signals Carl when he spots a promising house to take shelter in. They enter the house, going through the ritual of checking  or walkers and “clearing” each room. Rick keeps ordering Carl back, and Carl chafes under his father’s direction, responds by screaming and beating on the wall, to show there are no walkers, “Hey asshole, Hey shitface! Come down, we’re here!”  Rick sternly tells Carl to watch his mouth…Rick is holding his ground, but it did feel like there was a shift in their dynamic in this scene…Carl is no longer just going to do something because his father tells him to, or not to, do it.

Then, Carl, in classic teenager style,  sticks it to his father with a jibe about Shane, who had shown Carl how to tie the clove-hitch knot that Carl uses to secure the front door…Carl bristles when Rick pushes a couch towards the door to reinforce it, not trusting Carl’s knot to secure the door. In response,  Carl throws Shane’s name out like a little shitty teenage bomb (“Shane taught it to me…Remember him?”). In response, Rick gets that hot Rick-In-Charge look and shuts Carl down, growling out, “Yeah, I remember him…I remember him every single day. There anything else you wanna say to me?”

One look at his father’s face shuts Carl the hell up for a minute. He shakes his head no. Rick tosses a bag of chips at his son with a command to eat, and goes into the bathroom to gingerly remove his shirt (Yes! Take it off, take it off!)  Rick sucks in his breath as he twists to inspect his bruised ribs in the bathroom mirror…it does appear that one or more ribs are probably cracked, or broken. Not good.

Ok, here we are. The Michonne dream sequence. Was it just me, or did this scene fuck everybody up too? Artistically speaking the scene was…pretty much perfection. Emotionally speaking, the scene is…pretty much the new theme of my nightmares.

The shot opens with a view of Michonne’s back as she deftly chops some cheese and bread at a gleaming granite countertop while exchanging witty banter with two beautiful men, seated at a table in an airy, urbane apartment. Michonne is looking gorgeous in a colorful, midriff-baring top and skirt ensemble, her braids looking touseled and girly.

While she chops, Michonne is explaining to the men, in carefully chosen and enunciated language, why she isn’t feeling it with the latest trendy art exhibit at the museum, calling the attempt “pedestrian.” Even before the turn, it seems Michonne wielded both her words, and her silences, as deftly as she now wields her blade. Her friend Terry protests her proclamation, turns to her partner, Mike…”Mike, will you please talk some sense into your lover?”

“Oh, you did not just call me that,” Michonne quips, but it is all part of the banter, and Mike good naturedly sides with his woman, agreeing that the exhibit was “played.”

“Hallelujah,”  Michonne agrees, wiping the blade clean of what was once a chopping knife, and is now her katana…it’s the first dark, surreal turn that lets us know we are probably witnessing a dream…

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Just because I see a gorilla driving a car doesn't mean I call it art!

I am def feeling this for my new kitchen-goddess look.

As she sheaths the sword into her wooden knife block, the long blade warps into the small space perfectly in crazy dream-style surrealism… And at that moment, a beautiful 2 -year- old boy comes running into the kitchen, gets scooped up into his mother’s arms. “I hope we’re not boring you, peanut, ” Michonne coos as she cuddles her son. She picks up the platter of appetizers and carries it to the table, still cradling her little boy.

As Michonne approaches the table, Terry and Mike are still in their dapper suits, sitting quietly, lost in their thoughts for a moment…but with the barest pause, the scene flips perspective, and now we see from behind Michonne’s right elbow that the men are no longer the dapper, smiling, joking men of before.  Terry has a grim, haunted look, and a bleeding scratch at his temple.  Mike is wearing a soiled white t-shit and sleevless vest. The men are debating their next move.

“I don’t think we should stay at the camp,” says Terry.  Mike counters that the camp is their best chance for survival, right now, that he doesn’t want to chance it out there. He looks at Michonne, and at Terry, and at his son as he begins to question what it’s all for…is it really worth it to try to survive in the world that this has become, after this horrible turn, a world that is not really living, not worthy of a beautiful, pure child?

The camera goes back and forth between Mike, and Terry, then Michonne and the baby.  In response, Michonne, clutches the baby to her, narrows her eyes as she resists the dream and its terrible message…”Ok,” she says with a tight little smile, “I see what this is.”  She is bluffing, trying so hard to outmaneuver this.

“Really?” asks Terry.What is this, Michonne?”  I love this rendition of Terry, as we see in this brief glimpse of him, before he became one of Michonne’s walker pets. In the comic, I guess he was brave but dumb, but in this episode, he is fiery and intelligent. Then, in weird dream-speak, Terry then goes on to tell Michonne that she’s gotten really good with the sword, and does she know how valuable that is now? And poor Michonne is resisting and resisting all of this…

Mike raises his hands, his face so sad, “What is the answer here?” he pleads to her. Terry counters, “What is the damn question, Mike?”  Mike, looks up at Michonne, his face is heartbroken as he drops his hands, and whispers, “Why?”

Michonne’s voice breaks, her chin defiantly up, she tightly nods, holding the baby, “Ok,” she nods, “that’s good…and now,” and Michonne holds up a hand, like, whoa, ok…I’ve gotta get this happy moment back. ..”I have a question…”  and with another deft flick of the camera, the perspective is from behind Michonne’s elbow as she slides the plate of appetizers forward towards the men. “Who is going open the wine?” she playfully asks.

And this is what it becomes:

Look at this crazy shot I got of the armless men and her face.

Look at this crazy shot I got of armless Mike and Terry, and Michonne’s face. I had to watch that scene so many damn times…it will be a long time before I watch it again, even though I give mad props to its artistic excellence on all levels

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And the horrible moment when the baby is gone...

And the horrible moment when the baby is gone…

My WD buddy texted me, after the Michonne dream sequence, I don’t know how any of them have the will to live anymore. Ugh, after watching that scene so many times in the writing process, I barely have the will to live anymore.

The Carl-luring-the-walkers-down-the-street scene is pretty great, some comic relief, of course until this happens:

D'oh! Didn't see that coming, did you, Carl?

D’oh! Didn’t see that coming, did you, Carl?

Lucky for Carl that gun keeps on firing bullets!  Once Carl extricates himself from under the pile of three walkers on top of him, he finds another house, this one with the bonus of a huge, 120 oz. can of chocolate pudding on top of the fridge…unfortunately, the house also has the particularly scary and tenacious I’m Gonna Getcha Walker,  who almost chomps Carl about three or four times in a frightening struggle that had me jumping around the living room, saying lots of “Oh, shit’s” and “oh, fuck’s”, to the alarm of my little dog…

I'm Gonna Getcha Walker...that guy's hard to shake!

I’m Gonna Getcha Walker…that guy’s hard to shake!

Luckily, all I’m Gonna Getcha Walker got was Carl’s shoe…Carl used up a couple of his lives on this day, and he celebrates with what is now a classic WD moment, straight from the comic series, a pudding break on the roof, while I’m Gonna Getcha Walker vainly claws and hisses at him through the stuck window:

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(The Instagram account therickygrimes added the funny caption to this picture: Hey, give me back my pudding! )

Carl comes back to the house, tells Rick, who is still unconcious on the couch,  “I killed three walkers…I lured them away..I killed them…I saved you…I didn’t forget when you had us playing farmer…I stilI know how to survive…lucky for us…I don’t need you anymore…I don’t need you to protect me anymore… I can take care of myself…you probably couldn’t protect me anyway…you couldn’t protect Judith, or…Hershel, or Maggie…Michonne, Daryl…or Mom…You just wanted to plant vegetables…you just wanted to hide…He (the Gov) knew where we were, and you didn’t care!  You just hid behind those fences, and waited for (him)…! They’re all gone now…because of you! They counted on you!  You were their leader…” With this, Carl slumps to the floor, sitting at the foot of Rick on the couch.  “But now…you’re nothing.”  Carl has his head in his arms, crying.  “I’d be fine if you died,” he says,  and walks out of the room.

I know Carl is being a teenage tool right now, but he did need to unburden himself of the anger at his father that he had been carrying around inside…it’s like a version of “empty-chair” therapy, except in this case, it’s “yell at your dad before he wakes up” therapy. All in all, actually very healthy.

Now, if Rick would only wake up…I was getting worried there. My WD buddy texted me: If Rick dies, I am done with this show.

I texted back, He just needs a nap.  I was pretty anxious, though.  He was still looking pretty dead.

Back to Michonne, as she walks through the forest with the herd, disguised by the smell of her new walker pets. She seems both disturbed by the foul smell of the walkers and by the sight of what could be her walkerganger, a black woman walker with long braids. My WD buddy wasn’t really buying it that Michonne could move undetected through the walkers, and I was texting her that Michonne is probably one of the only surviving humans who has walked among the walkers.  She’s a walker whisperer, dude, I texted.

But it seems Michonne cannot take any more…so, she faces her walkerganger, and slices her down, then keeps going, berzerker-style, until she has hacked down all the walkers around her in the forest.  Greg Nicotero said that the script, and budget, only specified that Michonne kill eight walkers, but when filming, Danai Gurira kept going, so he kept shooting, and the result was one of the most epic walker-kill scenes, yet:

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I love that this episode focused mainly on Carl and Michonne.  Chandler Riggs, Danai Gurira, and Andrew Lincoln all gave stellar performances…I will honor Sam, of Sam and Anna, and nominate those three actors for “Deadies” for this episode.

Meanwhile, Carl has fallen asleep at the foot of the couch.  He is awakened by Rick’s hand jerking…and he is terrified, convinced that Rick has died and turned, and points a shaking gun at his father, but cannot bring himself to shoot.  Greg Nicotero said on Talking Dead (see, there I go again!) that it was because Carl could not bear to be alone in the world…when Rick speaks, and Carl realizes his father is alive, he cradles Rick’s head in his lap, and in a wonderful moment of improvisation, Chandler Riggs put his forehead down to touch Andrew Lincoln’s.  Andrew Lincoln said of Chandler Rigg’s performance in this episode, that he went from being a kid to a leading actor.

Meanwhile, Michonne follows Rick and Carl’s footprints in the muddy road…she is talking to herself, answering Mike’s question…” I know the answer,” she says, “I know why.” Danai Gurira kept using the word “metabolizing” later on TD, as she spoke of Michonne’s transformation in this episode.  Grief and traumatic experiences are not going to just go away…they must be metabolized by the individual, and transformed into something more proactive and manageable, for the individual to move on with his/her life.

Inside the house, Rick tells Carl that he knows that the life they knew is gone, that Carl is a man..”.I’m sorry,” Rick tells his son, as he knows that Carl has been forced to become a man well before he should have. Carl seems happy and relieved, especially when Rick, in response to a surprise knock on the front door, peers through the peek-hole and begins to laugh.  It is Michonne, of course, doing exactly what needed to be done in the moment to find Rick and Carl, with whom she has a special bond.

“Who is it?” asks Carl.

“It’s for you, ” laughs Rick.

Next week, it looks like we will be seeing what has been happening with the rest of the gang…this episode was kind of hard to tackle, so sorry for the late post, but thanks for tuning in!  Enjoy the playlist:

Playlist:

The Offspring, Gone Away

The Smiths,  How Soon Is Now?

Fleetwood Mac,  Landslide

Alice in Chains,  No Excuses

Season 4, Episode 9 prepost, “What Happens ‘After?'”

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So, what happens “After?”

Welcome back, gang….It’s been a nice couple of months since we watched the Governor implode in a hero-brother-hating self-sabotage and basically fuck it all up for everybody, including himself, by making an ill-fated play for the prison.  

The Walking Dead’s Season 4 mid-season finale, Too Far Gone, left everybody either dead or broken and bleeding, running for their lives in ragtag bands (or alone) as the prison is overrun with walkers… and then, after the finale,  we shaken WD fans all took a well-earned break from the mayhem and went on holiday.

And it’s the day we’ve been waiting for, Feb. 9th, 2014. Tonight, my friends, WD is back with its mid-season premiere, “After,” and the blood and guts are gonna hit the proverbial fan.

After a couple of moons, many questions, predictions, and about a million social media freakouts later, the question stands:  We are back, but are we ready?

I, for one, do not know… but here I am.  So, armed with two Stellas for self-medication (and bravery), I rewatched Too Far Gone… and yes, it was even more brutal and heartbreaking this time around.

I did notice a couple of things in the episode that I guess I had missed before, like Rick’s getting shot in the leg…I did not remember that Rick had gotten shot in the thigh.

That is so not good, and his poor, beautiful face is looking like raw hamburger meat after the Gov beat the total crap out of him and almost strangled him to death (btw, that fight scene between Rick and the Gov is one of the burliest onscreen punchouts, ever).

Rick’s not looking too good in the previews, either, and then there’s that scene in the preview where Carl’s terrified face is above an unconscious Rick, screaming for him to “Wake up! Wake up!”

Oh, god…Rick…I cannot.  I just cannot.

(Stella!   At this point, I took a writing break and went to the neighborhood bodega get another twelver of Stella…I am learning that when writing, one must choose their beverages wisely and stick with the chosen kinds during the writing process. Bukowski would agree, I think.)

One of the main questions I wanted to get clear on while rewatching Too Far Gone was:  Who ended up with whom as the surviving prison peeps scattered?  

From what I saw, Glenn ended up on the bus, Maggie ended up with Sasha and Bob, Tyrese ended up chasing after Lizzy and Mika, yelling, “Hey! We go that way!”  (I sense the potential for a kooky sitcom here, NewDad and the girls braving the pitfalls and funny shenanigans of zombie apocalypse and impending puberty).

Daryl and Beth ended up together, and I have this creepy feeling they are going to hook up at some point. While I do feel a little jealous and shitty about that possibly happening, I really couldn’t blame them…they are both smokin’ hot and pumped full of adrenaline. And, I suppose you gotta get it while you can in these dire times.

I don’t hate the players, people…at times, however, I do hate the game.

When I suggested the Daryl Fucks Beth Postulate to my WD buddy (by texting, God, is Daryl going to fuck Beth?), she immediately texted back, No, Daryl is not!  

Hmmm….I wish I could be that confident. I do not relish the mental picture that comes up in my head when I think of Daryl and Beth getting it on… but the way I see it, while Daryl may not, Beth definitely would, and will.

I remember that long-ass hug she gave him in “30 Days Without an Accident.”  That Beth is a little Lolita, and despite his best efforts, Daryl may just give in to a “what the hell” moment late one night, when all they’ve got is each other, and Beth’s looking real cute tidying up their squatter house and singing a Tom Waits song to herself.

Whatever happens, let’s just hope that when it does happen, they don’t get walked in on by Crazy Carol. That would not go over well.

Oh, you didn’t hear? Carol’s coming back… at least, that’s what the buzz is about on social media these days.

Norman Reedus posted pictures on Instagram of Melissa McBride getting made up backstage at the Conan show, and all the comments were about how two characters from before are returning to WD.  No surprise here. I knew Carol was coming back.(Refer to the ongoing Crazy Carol Theory in previous posts)  

Nobody puts Carol in the corner!

As for the second WD alum returning to the show, my work buddy Jeff and I have been predicting Morgan’s return into the forefront of the storyline for some time now…Jeff is the maverick who offered the Carl Theory in the first part of Season 4, and I respect his WD insights (even though you still haven’t put a “Like” on my Barnfullawalkers FB page, Jeff, you cagey bastard!). https://www.facebook.com/barnfullawalkers

Ahem…sorry…where was I?

Oh yes, anyway, at the end of Season 3, Jeff and I both agreed that we thought it was Morgan who poured gasoline on the Gov’s pit of walkers and set them on fire (thus spawning The Morgan Theory. )  But, of course, at the  time, the Gov blamed poor Milton for torching his pit walkers.

Remember when the Gov asked Milton, “Where did you get the gasoline?” to set the fire, and Milt looked like he didn’t know what the Gov was talking about? Then, in a total dick move, the Gov killed Milt and left him to zombify, chomp Andrea, and, ostemsibly, zombify her… earning my vote for the Governor as the Worst Boyfriend Ever.

Anyway, Jeff and I have discussed The Morgan Theory at length during lulls at work… we’ve always said that he’s coming back to be a major game changer and fuck some shit up.

So, my pick for characters returning are (drumroll, please):  Morgan and Crazy Carol, WD’s Homecoming King and Queen!  I mean, who else is left as far as characters from before? Everyone else is all dead, right?

Three characters, however, remain a question: Tara, Lilly, and Baby Judith.  Are they alive or dead, and will we see any of them again?

Baby Judith.  Sigh…  Man, I don’t know.  Many of my friends are talking about how Baby Judith could have been scooped up and taken on the bus…yeah, yeah.  I would love that, I really would.

That last shot of her, strapped into the baby carrier and being jostled by Mika and the other cute girl as they tried to carry her to the bus, is burned into my memory…I mean, she was the most beautiful baby in the world.  We all love Baby Judith! Even Daryl named her Lil Asskicker.  I am so pro-Baby Judith being alive, I really am.  

I love Baby Judith!

But….I also know that back in Season 3, when Glenn Mazzarra was still at the WD writing helm, the other writers were pretty much wanting to kill off Baby Judith…and Glenn Mazzarra held them back…for a while.

Now, Glenn Mazzarra is out, and Scott M. Gimple’s at the helm. And, after Too Far Gone aired on AMC, Talking Dead’s Chris Hardwick asked Robert Kirkman about the possibility of Baby Judith being alive still.  In response to that question, Robert Kirkman got this look on his face, this scoff, like he was so sure that he was so doubtful about that one.

After the scoff, Kirkman kind of shook his head, and said, with a laugh,  “There was a lot of blood in that car seat!”

That, straight from The Mouth of Kirkman, people, the creator of both The Walking Dead comic series and the television series… I would say that Kirkman pretty much has the final say on Baby Judith’s fate, or anything to do with The Walking Dead.

So, unless Kirkman is totally fucking with us and playing with our emotions (and we know how he, and Gimple, and Nicotero and the rest of the gang at WD, Inc. love to play with our emotions)…

…Baby Judith is probably not one of the returning characters…I really want to be wrong about this, people.  Let’s hope I am.

I will say that with this most recent and painful viewing of Too Far Gone, I did see the possibility of Judith being scooped up by someone from the prison who had been wounded and who, perhaps, bled on her while freeing her from the car seat and carrying her to safety.

I tried to see if the car seat straps were torn or gnawed away when I watched the wrenching scene of Carl and Rick’s discovery of the bloodied and empty seat.  It was really hard to tell.

I am not sure what happened to Tara, or her sister Lilly, after Lilly pulled the trigger on her shitty boyfriend, the Gov.  It would not be hard to imagine Lilly turning the gun on herself and pulling the trigger after she did the deed on the Gov, after losing her daughter, Meghan and everything going to shit. I guess we will see if either of the ill-fated sisters shows up in the second installment of Season 4… I liked them both, so I would hope so.

I am also not sure what happened to Michonne, if she ended up with any of the other prison peeps…my WD buddy thought she had ended up with Rick and Carl, but in that final scene, when Rick tells Carl not to look back, to just keep going, it is just them, no Michonne.

I know that Michonne can take care of herself, but she was just starting to open up to the others, and to get thrust back into that bleak solitary survival mode would just suck so bad…maybe she’ll find Tara and they will travel together and be hot asskicking girlfriends!

I can’t stop thinking about that crazy scene in the “After” preview, when Carl is luring the walkers away from the front door of the house, and down the street… I have been watching it over and over and thinking about Carl a lot.

Apparently, that scene is straight from the comic series. I think this time together, with Carl and his father, is going to be really significant in the development of their relationship, as they only have each other.  And it looks in the preview that Rick is pretty messed up, and Carl has to take care of him, even screaming down at Rick in terror that Rick is slipping away… I am so freaking scared for them, for all of them, but I am especially bonded to Rick and Carl.

Ok, so this brings us to the hard hitting question that is in, I think, everyone’s hearts: How is this all going to go down? What is going to  happen to our most beloved WD characters?  

The long term prognosis is not good here, people.  While I do not pretend to be an expert on the comic series, I do know enough to know that the end isn’t exactly chocolates and roses.

At this point in the zombie apocalypse, even if a group of people establish a foothold somewhere, set up a dwelling, and find a way to feed themselves and defend themselves to whatever degree from walkers, it seems that other surviving groups and individuals may prey upon them merely to get what they have.

Resources are dwindling, and the world is becoming more and more predatory, competitive, brutal to try to navigate and survive in.

And is it just me, or does it seem that the world of WD that Mother Nature herself is dying, or sick?  In the Camp Martinez episode, the lake next to the Gov’s camp was a dead lake, and the hunting expedition in the forest only yielded a dismal haul of a couple of squirrels… Rick’s attempt to raise hogs ended in a highly lethal swine flu… it all leaves me wondering if the pestilence and decay of the walkers is infecting the world and poisoning its resources even further.

We have to steel ourselves, people.  It’s balls-to-the-wall time. Some fucked-up mean characters from the comic series are coming.

Remember the radio promise of the Sanctuary? Remember how the little camp the Gov,  Martinez, and Sweet Pete happened upon was ransacked, the people massacred? And we never found out who was feeding the walkers rat-snacks and creating gruesome rabbit-art with entrails…

Many questions remain to be answered.

Now, I must say the thing that I do not want to say, but we are all thinking it.  I have read, and commented in, many exchanges on social media about the what if scenario: What if one (or more) of my favorite characters die?

Norman Reedus’s Instagram account is a classic example of the social media panic, as is AMC’s The Walking Dead live chat page.  People are really starting to freak the fuck out…they are posting comments like, NORMAN!!  IF DARYL DIES I WILL QUIT WATCHING THE SHOW!!!! 

Now, let’s all just take a deep, cleansing breath, shall we? That level of distress at the thought of losing a beloved WD character is totally understandable.  I did try to post, in response, what I thought was a placating, soothing thought, something like, Daryl Dixon is a warrior and does not fear going into the void…and Norman Reedus is alive, well, and here to stay!   That’s nice, right?

Trying to be reassuring, and the response I got to that was like the social media equivalent to being chased by an angry mob brandishing sticks and torches…never again!

But for all my brave words, I too am freaking about this.  I called my WD buddy and asked her, point blank, “Dude, what are we going to do if Daryl dies?”

I won’t go into all the details of what happened next… let’s just say there were tears,…and more tears…and some shaky laughter, and sharing memories, thoughts, feelings…it was raw, it was real.

We needed to get it out, and we were kind of moving through it, getting a grip on it….and then, my friend spoke the unspeakable sentence.

Her voice breaking, she said, “But…I don’t know what I would do…if Rick…”

Oh, God, say no more, SAY NO MORE!  Now it is time for my shouty caps and thousand exclamation points…. STELLA!!!!!

Ok, here is what I propose…we cannot control The Mind of Kirkman … The Law of Kirkman basically states (I think) something like:  Kirkman will do as Kirman wants, and Kirkman and Co. can (and will)  play with our emotions. It’s nothing personal…it’s how he do!

We have to stay strong, people.  I advise that you all set up a Daryl Plan with a designated Daryl Partner.

Here is how a Daryl Plan works:  

You pick a close friend and similarly obsessed WD buddy to be Daryl Partners with you, so if one of your very favorite characters dies in the show, you are there for one another.

In the Daryl Plan,  you and your Daryl Partner would check in with each other…Being a Daryl Partner may entail little, supportive gestures, like sending little encouraging texts throughout the day, such as, Thinking of u! Hope your day is going well! 🙂  Load on the emoticons.

Or, perhaps you can share some uplifting links to your Daryl Partner’s Facebook timeline, like, Onward and Upward! (or basically anything that involves a photo of a kitten, puppy, or baby, preferably with an upended bowl of spaghetti on their heads).

As a Daryl Partner, you may need to go check on your designated buddy’s place, unannounced, especially if you cannot get a hold of him or her by phone, text, or computer after repeated attempts…

You may need to go to their front door and knock loudly, calling their name.You may need to go around their house or apartment, looking in the windows… and if you see your buddy, face down, sobbing in a pool of tears and vomit, you may need to break in through one of the windows to get to them.  You may need to help lift your buddy up from their prostrate grief, gently wipe away the tears and vomit, and say something to snap them out of it, like, “You have to get it together…think of the children!”

A Daryl Plan is a serious pact, and the way I see it, key to our survival as WDO’s (Walking Dead Obsessed).  

The key tenant of the Daryl Plan is:  Do for your Daryl Partner as you would have your Daryl Partner do for you.

Pop-culture histrionics aside, the second installment of TheWalking Dead’s  Season 4 is sure to be a wild, fun ride, chock full of suspense, plot twists and turns like shiny, bloody innards, and super gnarly walker kills.

Nicotero will once again outdo himself, and Kirkman, Gimple, and the writing crew will be sure to infuse dark humor and moments of respite and renewal to keep us all hanging on through these dark times.

And there is sure to be amazing music, both by the inimitable Bear McCreary and an array of musical artists, as the addition of an ongoing playlist/soundtrack is one of the new offerings of Season 4. So stock up on Stellas (or whatever your beverage of choice) and strap on your strap-on’s, people.

We are in for a wild, bumpy ride.

To kick off the music, here is my humble offering…the prepost playlist for the upcoming mid-season premiere episode, “After.” Enjoy, and cheers!

Playlist:

Iron Maiden, Aces High

Soundgarden,  The Day I Tried to Live 

Foo Fighters,  Alone + Easy Target

(Oh, and p.s., if you haven’t already done so, find my Facebook page https://www.facebook.com/barnfullawalkers and show the love…will be full of fun posts, updates, media, and wacky antics!)

Season 4, Episode 8, “Too Far Gone”

“Too Far Gone”

(All images used in this post are screen caps from AMC’s The Walking Dead, unless otherwise specified.)

Well, people, here we are already…the mid-season finale…I am not sure who, where, or whence the ol’ mid-season finale concept came, but I, for one, am grateful for the idea.  I am too busy in a million different ways to be able keep a boner going for any show, no matter how awesome, for 16 weeks in a row…especially through the holiday season. The Walking Dead would have had pretty much one of the best shots at keeping me going for a straight 16-weekerbut it would have cost me.

I would have rallied, but it might not have been pretty at the end.

So, thank you,  genius of television who came up with the mid-season break idea…for saving our collective sanity, and giving us something to look forward to in the last part of dreary winter, the January/February slump, where the weather is cold and grey, and there are no real breaks or holidays except Presidents’ Day and Valentine’s Day…and sorry, but in my experience, those two “holidays” are never really as fun as they could be.

However, Season 4, for me, as been a pretty epic one, more fun than I could have imagined.  For one, it’s been the “coming out” season of barnfullawalkers, and despite the long hours of writing, rewriting, sleep deprivation, and technical difficulties that have come with this endeavor, it’s been a super rewarding adventure to start this blog and write about The Walking Dead. My WD buddy and I agree that Season 4 has been one of our favorites so far, on many levels.

I personally have enjoyed where Robert Kirkman, Scott Gimple, Greg Nicotero, and the entire gang of WD have taken us in the story line of this season, and I like how dark elements and characters of the comic series have been woven back into the television series. For me, the writing team has done a masterful job of maneuvering the scope of these dark times while still keeping love, hope, and humanity alive in key characters…and it seems the actors have been inspired by such a high level of writing by the haunting performances that all of the key actors have delivered so far in Season 4.  For some actors, these performances were their final ones for the series, and mad props need to be given to:  David Morrissey, Scott Wilson, and Jose Pablo Cantillo for wrenching our hearts and guts all over the floor…and to the actor that played Red Shirt Walker, who rolled over from his prison cot and spilled his guts all over the floor…mad props to that guy.

I also must give mad props to Melissa McBride, who plays Carol, gone but not forgotten…I will add another level to the ongoing Carol Theory, and say the I feel that we will definitely be seeing Carol again, perhaps in some leadership capacity elsewhere, where the bounds of morality are based more on brute survival than human compassion…but we shall see, won’t we?

I have also enjoyed, in Season 4, the addition of music from different musical artists, blending with the ongoing genius of Bear McCreary, to create a soundtrack for each episode.  I have read and heard various interviews with the actors of The Walking Dead where they said that they used music to prepare for, inspire, and come down from key scenes and performances throughout the series. For me, it just makes sense…music and The Walking Dead just go together.

Ok, enough preamble…let’s get to it, shall we? I’m not really going to get all recappy with this one…if you are reading this, you know what the fuck happened.  But we have definitely got some shit to hash out here, tears to cry…memories to share.

“Too Far Gone”

I was pretty curious how the Gov was going to spring his evil plan to the RV gang, and so I enjoyed listening to the Gov’s rallying speech at the beginning of Episode 8.  And, true to form for Season 4, the beginning was double-layered, with two scenes interposed, serving to turn the plot gears at double speed and getting the viewers right in there, and I, for one, am loving it.

In this episode, the Gov’s speech scene was interposed with the scene of him ambushing Hershel and Michonne in the woods… For me, it was super-pimp the way the Gov popped Michonne with the butt of his gun, dropping her, then with a single turn of the wrist, pointed the gun straight and true at Hershel, who knew he was bested…so poor Hershel just set down his gun and put his hands up, like, “Dude, sucks to see you, but that shit was pretty Bruce Lee, right there…why the fuck can’t you be on our side, again?” (Don’t get me wrong…I am Team Prison all the way, but I just have to throw some admiration at the Gov’s style of kung-fu.)

And then, in inimitable Gov fashion, we see how “Brian Heriot” turns on his unique charm to sell the RV gang on the hostile prison takeover, twisting their emotions and the facts to achieve his nefarious scheme. “I want you to survive,” he tells them…calls the peeps of the prison the ones that destroyed Woodbury, took his eye, killed his daughter. Damn, what a storyteller…he’s good, that Gov.

And I love how he just throws in there, at the end of his initial pitch:  Oh, and btw, I just happened to capture two hostages…not that I’ve ever TAKEN hostages before, because, you know, that would be weird…I just was thinking that a couple of hostages would be a good bargaining chip for my peaceful hostile takeover plan, you know, the one where nobody gets hurt, and they leave gladly, and we live in peace and harmony at the prison for ever after…and we need to do this, like now, or we’ll lose the element of surprise and they’ll notice that their buddies are gone…not that I’ve ever done this before!

The Gov plays their emotions and fears, and before they know it, the group is nodding and agreeing to his plan…all except Lilly, who has overheard the Gov’s pitch and is not having it…girlfriend’s got her arms crossed and looks pretty pissed.  When Lilly calls him out, the Gov throw out all the stops, telling her the only judgement he cares about is that she and Megan are alive and breathing…then, the Gov throws in a, “I love you,” for a good measure Hail Mary pass.  

Lilly replies, “I don’t know who you are.”  Get used to it, girlfriend…that’s life with the Governor!

The scene with Hershel, Michonne, and the Gov in the RV, with Hard Pass Mitch standing guard outside, is pretty crazy.  I love how Hershel calls the Gov out when the Gov tells them that nobody is going to hurt them…”I don’t believe that” says Hershel.

In response to this, the Gov avoids looking at Hershel and Michonne by pretending to pack up some battle snacks for later. “Well, I don’t care,” he replies.  When pressed by Hershel to please explain what is going on, the Gov tells them that he needs the prison, nothing personal, and that he needs them to help him get it as peacefully as possible, without anyone getting hurt if it can be avoided.

It’s hard for me to know if the Governor is actually believing any of this story he’s telling at this point…is he just sugar-coating it, rationalizing it, to those around him to make them do what he wants them to do, or is he really telling himself this story, over and over, so he can believe that he really is the good guy in this “peaceful hostile takeover” scenario he’s cooked up?

When Hershel proposes that the two groups can find a way to coexist at the prison, peacefully, the Governor resists, acknowledging that Hershel is a “good man, better than Rick.” Hershel points out that it seems the Governor has changed, and tells him that Rick has changed as well…the Governor stops him right there, tells him there is no way that Rick and he, or he and Michonne, can live together in the same community.

When Hershel presses, the Governor snaps, then recovers his poise, telling them there’s many ways he can do this, and this way, “You get to live, and I get to be…” 

The Gov never finishes that thought, seeming to get lost in the question of it.  Who could he really be, when it’s all said and done? Could he do it differently this time, or would things progress the way they did with Woodbury?  Things are already getting pretty fucked up as it stands.

Hershel asks the Governor, “If you understand what it’s like to have a daughter, then how can you be willing to kill someone else’s?”  The Gov replies, “Because they aren’t mine,” and exits the RV.

The Governor has the RV’s moved to the water’s edge, assuring Lilly that they will be safe there, as the walkers cannot cross the river…he doesn’t really focus on teaching Lilly, Megan or those who stay behind at the camp the basics for defending themselves while he and his Makeshift Army 2.0 go to battle “peacefully” for the prison…instead, he makes a show of giving Megan, who is making mud pies, unsupervised, by the water’s edge (and the bushes’ edge…how is that a good idea?) a big goodbye hug, and that proves to be a fatal lapse in judgement for the Governor…and little Megan.

Back at the prison, poor Glenn is still looking pretty green, not quite recovered from the Explodey Flu…but he manages to laugh with Maggie and joke about needing a vacation…meanwhile, Rick is having the dreaded Daryl Conversation, and Daryl takes it as well as can be expected, which is not very well, at first…he’s pissed, he’s pacing, he doesn’t believe that Carol would kill those people…Rick seems to convince him, because when Rick tells Daryl he still needs to tell Tyrese all of this, and that he’s not sure how Tyrese is going to take it, Daryl says right away, “Let’s go find out.”

Like I said before, Daryl understands dude code better than anyone else…he isn’t happy with Rick’s decision, but he will not let Rick go have The Tyrese Conversation without a second to back him up if Tyrese goes apeshit at Rick’s news.

They find Tyrese down in a darkened hallway…and he’s got some news for them…he shows them the creepy mutilated rabbit and brain art that some fucked up person is making…he thinks that whoever killed Karen and David is the same “psychopath” who made the rabbit and brain painting and who was feeding rats to the walkers…Rick begins to tell Tyrese that he doesn’t think it’s the same person, and when Tyrese asks why, they are (saved by?) interrupted by a huge explosion.

Cue the pulsing Bear McCreary music…and here he is, ambassador for peace, standing atop a tank: the Governor, flanked by his Makeshift Army 2.0, calling for Rick to come down and “talk.”

God, Rick is so hot when he bellows back that it’s not up to him, there’s a council now….the way Rick handles himself in this crisis just ups his hotness index by like a thousand degrees, if that is even possible.  The Gov is all silky and slithery as he asks, “Is Hershel on the council? What about Michonne?” and his minions trot out the hostages and force them onto their knees, for Team Prison to see.

When Rick asserts that he doesn’t make all the decisions any more, the Governor tells him that he, Rick, will be making the decisions today…”So come down here, and let’s have that talk.”

Rick quietly nods to Daryl, checks in with Carl, before going to face the Governor, the Gov’s tank, and his army, armed with only a pistol…like the lone hero in a cowboy movie…so freaking hot…Daryl’s making plans with Sasha and Tyrese to get everyone on the bus, to make their escape.

Rick tries to reason with the Governor, telling them there are sick children at the prison who would not survive leaving…to no avail…the Governor is being the dick with the tank and giving them until nightfall to leave.

Back at the RV camp, Lilly sees a walker making its way pretty easily so far across the water…then he goes down…Megan pulls up a flash flood area sign from the mud, and unearths a walker who was buried under the sticky mud and sign…it grabs for her, and before Lilly can get to her, poor Megan gets chomped:

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Poor Megan!

Poor Megan! My WD buddy texted me, The Gov sucks at protecting his girls…he’s gonna go batshit now..

Back at the not-so-peaceful takeover, Rick delivers his epic speech: “We can all…we can all live together. There’s enough room for all of us.” The Gov pipes in that he doesn’t think “his family” would sleep very well with Rick and the prison gang under the same roof, as they (mistakenly) believe that Rick and the gang are the bad guys, not the Gov.  Rick counters that the two groups could live in different cell blocks, that they wouldn’t even need to see each other.  Hershel turns and backs Rick up by telling the Governor, “It could work…you know it could.”

The Gov is being a big baby about it, and the camera focuses on Michonne’s face as he says he can’t, not after Woodbury, not after Andrea.

Michonne is so hating him, and right now, so am I. The Governor tortured and killed Andrea, deliberately and maliciously, and Rick and the gang were just rescuing their people.  Rick is too gracious to bring this up, saying instead that it would be hard, a lot harder to make it work than to go to battle, but that there is no other choice. Rick says they will not leave without a battle, a battle that would draw the walkers and tear down the fences, making the prison worthless.

The Governor then jumps down from the tank and seizes Michonne’s katana, holds it to Hershel’s neck.  Hershel looks unafraid.  Rick points to Tara, asks her if this is what she wants, if this is what any of them want. Hard Pass informs him that what they want is what he’s got, and it’s “time to leave, asshole.”  Nice, Hard Pass. Way to turn on the charm and the diplomacy.

Rick counters that he has fought the Governor before, and after the fight, former residents of Woodbury and compatriots of the Governor were welcomed into the prison community, where they became leaders.  Rick invites them to put down their weapons, to walk through the gates of the prison, and become “one of us.”

Rick looks right at the Governor, who is still holding the sword to Hershel’s neck, but who seems uncertain now.

“We can let go of all of it,” Rick tells the Gov, swiping the air with his arm as if wiping a slate clean, “and nobody dies…everyone’s alive right now…everyone’s made it this far…we’ve all done worse kinds of things, just to stay alive…but we can still come back…we’re not too far gone…we get to come back…I know we all can change.”

The Gov lets the sword down for a moment…Hershel smiles at Rick, proud and happy to hear Rick speak of love and forgiveness instead of dwelling in fear and uncertainty, as he had before.

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The Governor, no doubt overcome with hatred for yet another Hero Brother, whispers, “Liar,” and slices Michonne’s katana into poor Hershel’s neck. Maggie and Beth scream, and Rick screams, “No!” and fires…and Battle Royale has begun.

As Battle Royale begins to rage, Michonne manages to sneak away, cutting ropes that bind her wrists after tripping an enemy soldier and stomping his face.

The Governor catches up with Hershel and finishes the job, badly, hacking away at Hershel’s neck until his head is severed.  He then looks up to see Lilly, bearing her daughter, Megan’s, body.  The Governor takes Megan’s body and rekills Megan with a shot to the head. Tara cannot bear to fight, dropping her gun and covering her ears, despite Hard Pass’s orders to pick up her weapon and fight.  Alisha tells Tara to run somewhere safe, and after the battle is over, Alisha will come and find her.

The Governor is in full kill mode, ordering the tank and trucks to run the fence down. “Kill them all,” he orders.  “Roger that!” yells Hard Pass, waving his shitty hat in circles above his head… it’s his big dick moment. He puts throws tank in gear and proceeds to mow down the prison fences. Tyrese orders Sasha and Bob back, and Maggie orders Beth to get the others in the bus.

“We all have a job to do,” Maggie reminds Beth. (Hershel! 😦 We love you!)

Maggie runs into the prison to get Glenn, brings him to the bus, then runs to find Beth, who has disappeared. Rick tackles the Governor, and they commence with a western saloon-style beatdown, which the Gov almost wins, until:

Enter Michonne, saving Rick and finally getting to kill the Gov's ass

Enter Michonne, saving Rick and finally getting to kill the Gov’s ass, katana-style!

Lizzy proves that she is Carol’s daughter when she saves Tyrese by killing some unnamed minion, then killing a shocked Alisha, putting a bullet right between her eyes:

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Daryl pulls off a sweet maneuver, deftly slipping a grenade into the gun barrel of the tank (while using a dead walker as a shield). He kills Hard Pass with an arrow to the chest before grabbing Beth and hauling ass away from the prison, which is becoming overrun with walkers.

Unfortunately, Lizzy and Mika forgot about poor baby Judith…after Rick and Carl find each other, they make the horrible discovery of Baby Judith’s car seat, soaked in blood, with Judith nowhere to be found.  Anguished, Rick and Carl run for the hills, with Rick advising Carl not to look back.

As walkers overrun the prison grounds, the group is splintered into factions as they flee the prison for their lives.  As the Governor lay gasping, we see Lilly come to take her revenge:

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And we see a familiar face from the past:

Creepy Clara Walker...I knew we would see her again!

Creepy Clara Walker... I knew we would see her again!

So, there we have it…the prison is gone, the gang is gone, and some beloved characters have gone. So, here’s a little something to help cheer you up…enjoy!

(After this mid-season finale post, I plan to expand to social media with barnfullawalkers, and to keep posting, starting with the Episodes Gone Bye  where we rewatch and revisit the entire WD journey thus far, starting with Season 1, Episode 1, “Days Gone Bye.”  In addition, I will watch and post on all the Walking Dead webisodes, which, if you haven’t seen them, are like creepy little vignettes that are essential to getting the full  scope of the Walking Dead story….so stay tuned, and thanks for reading!)

Playlist:

Weezer, “Say it Ain’t So”

Nirvana, “Oh Me” (for Rick)

Nirvana, “Lake of Fire” (for the Gov)

The Dexateens, “Still Gone” (for Judith, Carol, Megan, Alisha)

The Queens of the Stone Age, “Mexicola” 

Radical Face, “Welcome Home, Son” (for Hershel <3)