Change Your Image
fernandoschiavi
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try again* Some women are not really natural redheads, but they're notable and known because of their red hair, like Rachel Hurd-Wood, Christina Hendricks and Amy Adams.
Reviews
24: 5:00 a.m.-6:00 a.m. (2001)
The combination of personal and political intrigue, along with the relentless pacing, creates a compelling viewing experience
The sixth episode brings significant developments as Jack Bauer finally locates Kim, leading to a thrilling rescue attempt. Bauer's relentless pursuit of his daughter culminates in a series of high-stakes encounters, showcasing his tactical prowess and determination. The stakes are higher than ever as Bauer navigates a series of perilous situations to save Kim and prevent the assassination plot. Teri's storyline converges with Bauer's, adding emotional weight to the narrative. A standout scene involves Bauer's confrontation with the kidnappers, where he demonstrates his quick thinking and combat skills. This encounter not only advances the plot but also provides insight into Bauer's character, emphasizing his willingness to take extreme risks to achieve his goals. The episode excels in maintaining a relentless pace, with expertly choreographed action scenes and strong performances from the cast.
Senator Palmer continues to deal with the fallout from the scandal, facing new threats to his campaign. The episode is a masterclass in tension-building, with the real-time format amplifying the urgency of every moment. The direction is tight, and the performances are consistently strong, particularly from Sutherland, who portrays Bauer's determination and vulnerability with nuance. The cinematography and editing enhance the suspense, though some viewers might find the constant plot twists a bit exhausting. Overall, the episode successfully delivers high-stakes drama, setting the stage for the rest of the season. Critics have praised the episode for its intense pacing and strong character development, though some have noted that certain plot elements feel slightly implausible. Despite these minor criticisms, the episode maintains the series' momentum, with Sutherland's compelling performance driving the narrative forward.
In conclusion, the first six episodes of "24" effectively establish the show's unique format and high-stakes narrative. The combination of personal and political intrigue, along with the relentless pacing, creates a compelling viewing experience. While some plot points occasionally stretch plausibility, the overall execution is impressive, driven by strong performances and tight direction. "24" sets a high bar for action-thriller television, with its innovative real-time storytelling and complex character dynamics. The episodes succeed in maintaining suspense and engaging viewers, making "24" a standout series in the genre.
24: 4:00 a.m.-5:00 a.m. (2001)
Some have praised the episode for its intense pacing and strong character development, though some have noted that certain plot elements feel slightly implausible
In the fifth episode, the stakes reach new heights as Jack Bauer's desperation to save his daughter, Kim, leads to a series of intense confrontations. Bauer's determination is palpable as he navigates dangerous situations to gather information and track down Kim's kidnappers. The episode is marked by high-stakes action sequences and dramatic revelations. A particularly gripping scene involves Bauer's confrontation with the kidnappers, showcasing his tactical prowess and unyielding resolve. This encounter not only advances the plot but also provides insight into Bauer's character, emphasizing his willingness to take extreme risks to achieve his goals. The episode excels in maintaining a relentless pace, with expertly choreographed action scenes and strong performances from the cast.
Meanwhile, Teri's investigation into Kim's disappearance uncovers more disturbing details, adding to the emotional weight of the narrative. Senator Palmer's storyline also takes a dramatic turn as he confronts those threatening to expose his past. The episode excels in maintaining a relentless pace, with expertly choreographed action scenes and strong performances from the cast. Stephen Hopkins' direction keeps the audience on edge, while the writing ensures that each plot twist adds to the overall tension. The cinematography effectively captures the claustrophobic and high-pressure environment, though some critics argue that the episode's rapid pacing can sometimes feel overwhelming. Despite this, the episode is a masterclass in tension-building, setting the stage for future developments. Some have praised the episode for its intense pacing and strong character development, though some have noted that certain plot elements feel slightly implausible. Despite these minor criticisms, the episode maintains the series' momentum, with Sutherland's compelling performance driving the narrative forward.
24: 3:00 a.m.-4:00 a.m. (2001)
The episode successfully builds on the established tension, deepening the narrative complexity and keeping viewers engaged
In the fourth episode, Jack Bauer continues his relentless pursuit to rescue his daughter, Kim, while uncovering more details about the assassination plot against Senator Palmer. The tension within CTU escalates as suspicions about a mole intensify, creating an atmosphere of paranoia and mistrust. Bauer's investigation leads him to confront key suspects, resulting in a series of tense and dramatic encounters. Teri's subplot is equally compelling, as she navigates a series of dangerous situations in her quest to find Kim. The episode excels in maintaining a relentless pace, with expertly choreographed action scenes and strong performances from the cast. A standout moment involves Bauer's daring attempt to gather intelligence from a highly guarded location, highlighting his tactical acumen and resourcefulness.
Senator Palmer faces mounting pressure as the scandal surrounding his past threatens to derail his presidential campaign. Key moments include Palmer's strategic decisions and interactions with his political advisors, which add depth to his character and the broader narrative. The direction maintains a high level of suspense, effectively using the real-time format to heighten the drama. The split-screen technique continues to be a standout feature, allowing viewers to follow multiple storylines simultaneously. Critics have praised the episode for its intense pacing and character development, though some have pointed out that certain plot points stretch believability. Despite these minor criticisms, the episode successfully builds on the established tension, deepening the narrative complexity and keeping viewers engaged. The performances, particularly by Sutherland, continue to anchor the narrative, ensuring that the emotional stakes remain as compelling as the action.
24: 2:00 a.m.-3:00 a.m. (2001)
The focus on Bauer's professional and personal challenges ensures that the narrative remains engaging and multifaceted, drawing viewers deeper into the complex world of "24."
The third episode sees Jack Bauer's investigation intensify as he infiltrates a terrorist cell to gather crucial information about the assassination plot. This risky maneuver highlights Bauer's resourcefulness and determination, as he puts his life on the line to prevent a national tragedy. Concurrently, Teri's search for Kim uncovers disturbing clues, amplifying the emotional stakes. The narrative complexity deepens with each revelation, keeping viewers on the edge of their seats. A particularly gripping scene involves Bauer's tense interaction with the terrorists, showcasing his quick thinking under pressure. This encounter not only advances the plot but also provides insight into Bauer's character, emphasizing his willingness to take extreme risks to achieve his goals.
The direction skillfully balances action and suspense, with the real-time format heightening the sense of urgency. The episode's cinematography effectively captures the dangerous and claustrophobic environments Bauer navigates, enhancing the tension. Meanwhile, Senator Palmer's subplot continues to unfold, revealing more about the political machinations and personal dilemmas he faces. Critics have noted that while the episode is packed with tension and strong performances, some plot elements feel slightly implausible. Nevertheless, the episode maintains the series' momentum, with Sutherland's compelling performance driving the narrative forward. This installment successfully builds on the established tension, further entangling the characters in a web of intrigue and danger. The dual focus on Bauer's professional and personal challenges ensures that the narrative remains engaging and multifaceted, drawing viewers deeper into the complex world of "24."
24: 1:00 a.m.-2:00 a.m. (2001)
The episode deepens the intrigue and character development, setting the stage for escalating drama
In the second episode, the tension within CTU escalates as Jack Bauer begins to suspect that there is a mole within the organization. This revelation casts a shadow over the entire unit, introducing a theme of paranoia and mistrust that will continue to grow. Bauer's suspicion is driven by his discovery of a potential link between the assassination plot and someone inside CTU. Meanwhile, Teri Bauer (Leslie Hope) embarks on a desperate search for their daughter, Kim, who remains in the clutches of her kidnappers. This dual narrative effectively maintains suspense, as the viewer is drawn into the urgent, high-stakes world of Bauer's professional and personal crises.
A particularly gripping scene involves Bauer's confrontation with Nina Myers, where the palpable tension underscores the show's complex character dynamics. Myers' role within CTU is further complicated by her past relationship with Bauer, adding layers of personal conflict to the professional stakes. Senator Palmer's subplot also gains traction as he deals with a burgeoning scandal that threatens his political career. The episode skillfully balances these intertwined narratives, with the direction maintaining a brisk pace and the split-screen technique providing seamless transitions between concurrent storylines. Critics have praised the show's ability to juggle multiple narrative threads while keeping the central mystery engaging, though some plot developments strain credibility. Overall, the episode deepens the intrigue and character development, setting the stage for escalating drama. The performances, particularly by Sutherland and Clarke, continue to anchor the narrative, ensuring that the emotional stakes remain as compelling as the action.
24: 12:00 a.m.-1:00 a.m. (2001)
This pilot episode is successful in creating a compelling and suspenseful narrative that leaves viewers eager for more
The pilot episode of "24" sets the tone for the entire series, introducing us to Jack Bauer (Kiefer Sutherland), a dedicated and resourceful agent with the Counter Terrorist Unit (CTU). The episode begins with Bauer being called in to prevent an assassination attempt on Senator David Palmer (Dennis Haysbert), a leading presidential candidate. This immediately establishes the high-stakes nature of Bauer's work. Concurrently, Bauer's personal life is thrown into chaos when his teenage daughter, Kim (Elisha Cuthbert), sneaks out for a party and is kidnapped. This dual plotline of political intrigue and personal crisis serves as a powerful hook, showcasing Bauer's struggle to balance his professional responsibilities with his personal life. The direction by Stephen Hopkins is sharp and efficient, keeping the tension high and the narrative tightly wound. The use of split-screen techniques to show simultaneous events adds to the real-time urgency, a hallmark of the series.
A standout moment in the episode is Bauer's tense interactions with his colleagues at CTU, particularly Nina Myers (Sarah Clarke), which hint at complex, possibly problematic, internal dynamics within the unit. These scenes set up a subplot of suspicion and mistrust that will permeate the series. Senator Palmer's storyline is also introduced, revealing that he is facing a significant political scandal. This subplot, while secondary to the main plot, adds depth to Palmer's character and provides a broader context for the political stakes involved. Critics have noted the effectiveness of the pilot in establishing the show's premise and characters, though some have pointed out that the rapid-fire introduction of multiple plot threads can be somewhat overwhelming. Nevertheless, the episode is successful in creating a compelling and suspenseful narrative that leaves viewers eager for more. The performances, especially by Sutherland, are strong and help ground the otherwise high-octane plot in emotional reality.
The Walking Dead: The Ones Who Live (2024)
While the series succeeds in delivering a powerful narrative arc for its protagonists, it falls short in fully realizing the potential of the CRM as a formidable antagonist
"The Walking Dead: The Ones Who Live" offers a gripping continuation of the iconic series by focusing on the beloved characters Rick Grimes (Andrew Lincoln) and Michonne (Danai Gurira). This spin-off delves into their journey after their separation and explores their relentless quest to reunite. The series does an exceptional job of intertwining their personal struggles with the broader threats posed by the Civic Republic Military (CRM). Each episode is packed with high-stakes action, emotional depth, and intricate storytelling that keeps viewers on the edge of their seats.
In the latest episode, Rick and Michonne are forced to undertake a near-impossible mission to escape the CRM's clutches. They must destroy the dossier that Jadis (Pollyanna McIntosh) left behind, which contains critical information about Alexandria. The tension mounts as Rick attends a briefing with Major General Beale (Terry O'Quinn), while Michonne listens to plans for the destruction of Portland. The episode effectively highlights the CRM's true intentions, making the audience despise the organization even more. The editing brilliantly alternates between the intense meeting and Michonne's horror, enhancing the dramatic tension.
One of the episode's standout moments is the interaction between Rick and Beale. The performances by Andrew Lincoln and Terry O'Quinn are nothing short of phenomenal. Their on-screen chemistry adds a layer of gravitas to the unfolding events. However, it's a shame that Beale's character wasn't given more screen time earlier in the season, as his dynamic with Rick is compelling and adds depth to the narrative. The decision to kill off Beale may seem abrupt, but it serves to heighten the stakes and underscore the ruthlessness of the CRM.
The action sequences in this episode are notably superior to those in previous installments. The claustrophobic elevator scene, where Rick is nearly discovered, is particularly intense and well-executed. The choreography and direction of these scenes are top-notch, bringing back memories of Rick's brutal and relentless nature from earlier seasons. The episode's climax, involving the release of chlorine gas to eliminate CRM leaders, is morally complex but satisfying, given the CRM's atrocities. The reunion of Rick, Michonne, and their children provides a heartfelt and emotional conclusion, offering fans a rewarding closure to their journey.
While "The Ones Who Live" succeeds in delivering a powerful narrative arc for its protagonists, it falls short in fully realizing the potential of the CRM as a formidable antagonist. The hurried resolution of the CRM's downfall feels somewhat contrived and underwhelming. Nevertheless, the series manages to end on a high note, celebrating the enduring love and resilience of Rick and Michonne. Despite its flaws, "The Ones Who Live" is a fitting tribute to these iconic characters and a testament to the enduring appeal of The Walking Dead universe.
The Walking Dead: The Ones Who Live: The Last Time (2024)
With a heartwarming ending, "The Ones Who Live" is the first spin-off that shows the real potential for expanding this universe
Rick and Michonne return to Cascadia Base where Michonne sneaks in and finds and destroys Jadis' dossier before attending a briefing for the Frontliners where Michonne learns that the CRM intends to abduct select children from Portland before destroying the city with chlorine gas. Rick is given the Echelon Briefing in which Beale informs him of the truth about the destruction of Omaha and the Campus Colony and the upcoming attack on Portland. Beale reveals that, believing that humanity only has around fourteen years left, the CRM is going to declare martial law on the Civic Republic and destroy survivor communities all across the world, scavenging their resources to ensure their own survival.
Rick kills Beale with his own sword and Rick and Michonne rig up a makeshift bomb on the chlorine gas arsenal before being confronted by Thorne who had deduced the truth about Michonne's identity. Michonne is forced to kill Thorne and the bomb and the gas kills the CRM Force Command and all of the Frontliners. With the CRM's atrocities exposed and its command structure decimated, the civilian government takes over and reforms the CRM to aid other survivors while enabling free travel to and from the city. Rick and Michonne return home and are finally reunited with their children, Judith and R. J.
As the episode's synopsis itself states, the two have to pull off an almost impossible miracle to escape the siege of the CRM (Civic Republic Military). Besides having to destroy the dossier that Jadis (Pollyanna McIntosh) left with all the information about Alexandria, Rick is summoned to receive the briefing from Major General Beale (Terry O'Quinn). Both missions are very well presented on screen, further increasing the scale of the CRM and the danger it represents. If before we only knew about the military power the organization has, now all its real intentions are put into play and make them (and us) repudiate this whole organization even more.
The editing of this sequence is very effective, alternating between Rick's meeting with Beale while Michonne is in the theater listening to the entire plan for the execution to decimate Portland. This is just one of the countless atrocities the CRM wants to commit. A detail that enhances the scene is that when they are showing the photos of the children evacuated from Portland, the presentation pauses on the face of a child who looks very similar to RJ (Antony Azor). Probably at that moment, Michonne thought of both RJ and Judith (Cailey Fleming) and, unable to bear it any longer, leaves the theater horrified. Although the series is about Rick and Michonne, whenever they are on screen (especially Michonne), we feel the presence of their children. The main theme of the series is that the love of family can overcome all dangers.
In parallel, one of the episode's highlights is the meeting between Rick and Beale, or rather, the meeting of Andrew Lincoln and Terry O'Quinn. It is undeniable how grand these actors are, absolute monsters in their respective roles. All the screen time that Beale didn't have in previous episodes, he has here. Although brief, the dynamic between these two is well developed, making me lament even more that we didn't get more of this throughout the rest of the season. It gives a taste of much potential wasted. It's interesting that after 8 years, Beale finally saw a leader figure in Rick to the point of betting on him to lead the CRM. After so many attempts at escape, when he finally had the freedom to go wherever he wanted, he returned and gained Beale's trust. Those who were upset in episode 4 because of Rick's statements about wanting to return to the CRM and not home should now finally understand. The best way to destroy the system is by being part of it. Beale's death may be bothersome, but this season was entirely planned to wrap up the story. Even so, if he had had more screen time, his death would have had much more impact.
I had already pointed out the weak direction and choreography of the action scenes in the previous episode, but here it is the exact opposite. That elevator sequence is breathtaking with all the tension of the fear that Rick would be discovered there, and he is. Usually, action scenes in claustrophobic environments aren't great due to spatial limitations. Because of the construction of the scene with Rick carrying Beale's body on the cart, everything in this scene is heightened, and the action is very well directed. I was even a bit impressed with the outcome of this sequence, bringing back that violent and bloodthirsty Rick from season 5.
Finally, we have the execution of the plan to attack the entire leadership present at the Cascadia base. In the second episode, the CRM attacks and decimates Michonne's entire group with chlorine gas, and here she returns the favor on a much larger scale. Morally speaking, we might question the fact that Rick and Michonne use such a cruel means to eliminate their enemies. But after everything they did to Rick, and especially their actions outside the walls (mainly with Omaha), the destruction of the CRM in this way is more than justified, even if there may be criticisms of how easily this was accomplished.
The episode's ending with the family's reunion is quite heartwarming and can move anyone with the slightest sympathy for this universe. Given the traumatic way the previous episodes dealt with Rick's traumas, combined with the bond we have with the entire Grimes family, seeing them reunited is a reward and a sweet conclusion for these characters who deserved it so much. Even in the short time acting together, the powerful chemistry between Andrew Lincoln and Cailey Fleming is evident. Since Rick and Michonne left The Walking Dead, the reunion of the couple with their children was everything fans wanted, and here they deliver much more. Rick was one of the favorite protagonists on television for many fans for many years, so it's undeniable the emotion of seeing him hugging his children. But it's also undeniable that the CRM feels almost like a narrative excuse to create this reunion, given that its role in the series is underutilized, even in the way the mission to bring it down doesn't seem to fit this season due to the tonal difference with previous episodes. The lazy, uncreative, and indifferent resolution of Rick and Michonne's final mission leaves me with the impression that the writers didn't know how to solve this problem organically without leaving hooks or needing another season.
The lingering taste is bittersweet because The Ones Who Live doesn't end as a good universe expansion, nor does it finish the limited conflict with the CRM with quality, with the small positive side of having a sweet conclusion for two great characters who deserved it. In the end, the work did justice to its protagonists, but not to the franchise and the magnitude of its premise, if that makes sense. We hope that Rick, Michonne, and their children have their story concluded here because it doesn't make sense to sacrifice the CRM with this rushed and sloppy conclusion if these characters are going to return at some point in the future. Among so many unnecessary productions, The Ones Who Live is the first spin-off that shows the real potential for expanding this universe. Much of the quality seen here is due to the excellent Andrew Lincoln and Danai Gurira, who led the series in a dignified manner, bringing new dynamics between their characters and a happy ending in the way all fans wanted. Even with some productions coming up, finishing this excellent spin-off, I can say that my feeling is that now The Walking Dead is truly over.
The Walking Dead: The Ones Who Live: Become (2024)
The cat-and-mouse game between the antagonist and the protagonists works. We have a good car chase, great choreography, some interesting zombies in a good pace
In flashbacks, Jadis - going by her real name of Anne - visits Gabriel once a year, privately admitting that while she's dedicated to the CRM's mission, she is conflicted about the lengths that the CRM goes to. Gabriel insists that Anne is still a good person, proven by her inability to kill Gabriel. In the present, making a stop to rest on their way to Alexandria, Rick and Michonne encounters and fight off a family of bandits and spend the night in Yellowstone National Park where Jadis, having deduced their survival, finds them. Jadis unsuccessfully tries to kill them and is badly wounded. She runs away and the couple goes after her in a car chase. Jadis then pulls the bandits into it, with Rick and Michonne being unable to kill Jadis due to her dossier that threatens Alexandria's safety.
Jadis reveals that Rick was slated to receive the Echelon Briefing and move up in the CRM and reaches a deal where Rick will return to the CRM while Michonne can go home, but they double-cross each other and Jadis is fatally bitten by a walker in the melee. Jadis explains that after losing her people, she dedicated herself to a cause that seemed like it would last. Deciding to die as Anne rather than as Jadis, she tells them where to find the dossier at Cascadia Base and gives Rick a wedding ring that Gabriel had found for him. At her request, Rick shoots Anne. Rick gives Michonne the wedding ring and they formally exchange vows. He and Michonne then decide to take Jadis' helicopter and return to the CRM to find the dossier and stop them once and for all. Realizing that Anne is dead after she fails to show up for their yearly meeting, a heartbroken Gabriel crafts a makeshift grave marker for her.
Before we delve into the narrative and technical aspects of the episode, I want to praise the great romantic moments between Rick (Andrew Lincoln) and Michonne (Danai Gurira), which directly remind me of the early seasons of The Walking Dead. These light and dynamic moments between the protagonists serve to make us more attached to the characters so that we fear for their lives when things start to get intense. The beginning of the episode, with the couple's road trip reconnecting after being apart for so long, is definitely a treat for the franchise's fans, and I'm enjoying how every episode includes these moments.
The script here manages to recapture what made the original series work, bringing back the dilemma of whether or not to help strangers and the danger this thin line can represent for the protagonists' lives. Although the scene of Rick helping strangers only to be betrayed has a cool concept that harkens back to Rick's essence, it also has mediocre execution, with poorly choreographed hand-to-hand combat scenes that are nothing like the action sequences we had in previous episodes. One possibility is that they saved the budget for the grand action scenes likely to occur in the final episode, but even so, it doesn't justify the horror of these hand-to-hand combat scenes with these strangers. To avoid sounding too critical of the action sequences, I really liked the car chase. The way the scene was filmed with excellent camera work resulted in a breathtaking scene.
The real highlight of the episode is Jadis, portrayed by the excellent Pollyanna McIntosh. Since her introduction to this universe, we've always enjoyed the character and her ironic way of dealing with situations, especially in The Walking Dead. In World Beyond, the character underwent a shift and became a bit more serious and imposing. Now in The Ones Who Live, Jadis is at her peak, bringing a much greater sense of danger than Major General Beale, who was marketed as the series' main antagonist. The danger she brings here is not just for Rick and Michonne but also for practically all the characters we know in Alexandria, which further increases the fear of what she is capable of.
Since the series began airing, the showrunner, Scott M. Gimple, has been building a lot of anticipation by saying a familiar figure would return. I don't think anyone expected that this familiar figure would be Father Gabriel (Seth Gilliam). The character's return here is used to enhance Jadis through flashbacks, showing that the two kept in constant contact even after the bridge explosion and her joining the CRM (Civic Republic Military). Although the use and editing of these flashbacks aren't stellar, they still function in attempting to humanize the character. However, bringing Gabriel back here didn't seem like the best decision because his relationship arc with Jadis felt entirely out of place.
Perhaps the best way to use these flashbacks to enhance the character would have been to show a bit more of her journey within the CRM and her dynamic with Rick. What we saw in World Beyond and in the third episode of The Ones Who Live was very little compared to the grandeur the character presents. But even so, I liked the character's conclusion and how the entire tension of the sequence was handled. I previously thought that the files she left at her house about Alexandria were a lie just to threaten Rick and keep him within the CRM system, but in reality, the community is indeed in great danger. Her death puts Rick and Michonne on an almost suicidal mission to return and destroy the evidence left by Jadis.
Moreover, the cat-and-mouse game between the antagonist and the protagonists works. We have a good car chase, great choreography, some interesting zombies, and a minimum of creativity with settings to make the escape relatively fun and fast-paced, if not exactly tense or horrifying as Michael E. Satrazemis seems to attempt. The audience can be bothered with some of Jadis's endless speeches, but the character's antagonism works within this episode, in another chapter of survival for Rick and Michonne. Beyond the sweet and sappy ending with the marriage proposal, we're left concerned about the mission presented to bring down the CRM in, apparently, just one episode, which seems too little. There are three possible outcomes: the miniseries gets renewed (no surprise); the story continues in another spin-off; or the conclusion will be extremely rushed, by far the worst possibility and also the most unlikely. In any case, we are curious to see the unfolding of the CRM invasion and the plan to overthrow a military army with the "truth." Will the exposure of secrets really cause an implosion?
The Walking Dead: The Ones Who Live: What We (2024)
"What We" delivers a profound script, impeccable performances, and a well-dosed soundtrack
After jumping from the helicopter, Rick and Michonne fall into a river outside of Greenwood, a community of innovators formed after the apocalypse began and which still has power and modern amenities. However, Greenwood fell at some point, likely to starvation, leaving it overrun with walkers. Michonne then proceeds to try and convince Rick to go back home with her, revealing they have a son together named Rick Jr. Rick still refuses to go back, telling her Jadis will kill everyone they know if they escape. They find out the helicopter they were in crashed in the storm, giving them the perfect opportunity to escape since the CRM will believe Rick and Michonne to be dead but Rick still says he won't go home with her intending to complete Okafor's mission to reform the CRM into something better.
Michonne then decides to leave Rick behind, with Rick going after her shortly after. A CRM helicopter bombs the wreckage to destroy any evidence of the CRM's existence, trapping Rick and Michonne in a collapsing building full of walkers. Rick and Michonne slowly reconnect and have sex with each other. After this, Michonne gets through to Rick resulting in him admitting that he can't see Carl's face anymore due to his traumas and that he's terrified to be with Michonne again as Rick wouldn't survive losing her again. After Michonne gives Rick an iPhone engraved with Carl's portrait, she convinces Rick to go home with her. Rick and Michonne escape as Greenwood collapses and take one of the community's hybrid vehicles which has enough ethanol to get them home to Alexandria.
Amidst the despair of Michonne (Danai Gurira) seeing how manipulated and surrendered Rick (Andrew Lincoln) is to the CRM (Civic Republic Military), she takes the drastic step of jumping from the helicopter and taking him with her, hoping this will make him decide to escape with her instead of wanting to return to where he's been imprisoned for years. It's precisely this expectation of escape, which is shattered at the beginning of the episode, that makes "The Ones Who Live" deliver the deepest dialogues we've ever seen in any production of this universe.
It's important to highlight that this episode was entirely written by Danai Gurira, who also served as the showrunner exclusively for this episode. The way the script unfolds makes it obvious that the episode was conceived by someone who knows the nuances and intimacies of both Rick and Michonne. The opening song is "Tie A Yellow Ribbon," which tells the story of a man who was imprisoned for years and during that time, was tortured psychologically by the fear of having disappointed the woman he loves, thus having to deal with the uncertainty of whether she still loves him. Clearly, the choice of the song was intentional, alluding exactly to what Rick is going through at the moment and his fear of losing everyone he loves after Jadis's (Pollyanna McIntosh) threats.
As soon as they arrive at the abandoned building, the two begin updating each other on what happened to them during all these years they haven't seen each other. Many questions arose after the second episode's airing about why Michonne hadn't told Rick about RJ (Antony Azor), which was obvious to many fans, though I saw some complaints. Early in the episode, we see that she waited for the right moment to use this information as a weapon to further motivate Rick to want to go home. The psychological damage he suffered during his time there was so severe that even this information wasn't enough to change him. From here, the episode breaks clichés and delivers less expositional and more profound dialogues, bringing a development of traumas and different perspectives from both until they reconnect at the end of the episode.
Here, Rick tells Michonne about Jadis saving his life after what happened on the bridge and that now, if they escape, the price will be the lives of everyone they love. Obviously, she suggests they go back to the CRM and destroy all evidence of Alexandria so they can finally go home. Then a twist occurs, and the helicopter they were in crashes, leaving a perfect opportunity for them to escape without the CRM knowing they are alive. Even so, Rick remains resistant, causing Michonne to lose patience and decide to leave without him. After everything they went through to reunite, the script offers a very interesting dynamic for the couple, putting them at odds at every moment and making me feel emotionally tortured throughout the episode (in a good way). This is elevated by the impressive performances of Andrew Lincoln and Danai Gurira, who in my view are in their best form portraying these characters.
Since the 9th season of The Walking Dead, we see that when Michonne is with her children, she always refers to Rick as the brave man, conveying the entire legacy of the man their father is, and Judith (Cailey Fleming) is always emotional when the subject is him. Seeing Michonne here calling him that and him denying it is heartbreaking and only confirms how rigid and trapped Rick is by the CRM. Up to this point in the episode, almost all the solutions she had to bring him back had failed until Rick himself offers ammunition for Michonne to finally convince him. Due to all his traumas, fears, and uncertainties, he tells Michonne that the CRM took Carl (Chandler Riggs) from him. The emotional damage caused made the only way he could keep his son alive in his memory (through dreams) be interrupted, causing him to start forgetting Carl's face. At this moment, she takes out a phone with Carl's face on it and gives it to him, unlocking the key that was missing for him to return to his family. As a fan of the franchise, I could never have imagined the series would be so sensational as to use this device to bring the turning point in this story.
It's curious how the construction of these relationship discussions completely goes against what I praised in the last episode in terms of dialogues because silence and subtlety are not predominant factors among the protagonists' emotional confrontations and shouts. Gurira's background as a playwright is displayed in the theatrical manner the conversations unfold, despite Michael Slovis's cinematic work trying to avoid appearing too much like a play with closer shots of faces and a focus on visual intimacy. I also like how the text and director break up parts of the discussion so we don't have a tiring episode (imagine if it was an entire hour in the room, for example), with a highlight on the staircase sequence, where we feel the danger of the moment through a sense of claustrophobia, excellent use of lighting, and a return, albeit brief and superficial, to the franchise's anguishing horror side.
Some moments come across as cheesy, like the sex in a collapsing building and some corny love vows, but overall, Gurira avoids being too expositional and gradually crafts dramatic moments that evolve the characters, passing through the almost therapeutic quality of the text about Rick's broken mental and emotional state, and how Michonne starts the episode furious, begins to understand Rick beyond her expectations, and eventually helps him with his trauma. In the end, it's clear we were witnessing a crucial moment in the history of two massive television characters, with two excellent actors in work marked by touches of vulnerability, anguish, melancholy, and even humor-I really like how Gurira inserts jokes and jabs into the discussions, making the relationship authentic.
Subjectively speaking, "What We" is not the type of episode I expected or even the type of episode that would please us for a horror franchise that continues to distance itself from horror, but it's inevitable not to rationalize Gurira and the other writers' decision to take a dramatic pause and let the protagonists finally talk openly after so many years apart. Truths and revelations come to light in a post-apocalyptic marital discussion. Who would have thought the main terror of this episode would be a relationship talk, right? I have several questions about what all this means for the CRM threat and how the rest of the season will handle this enemy and universe expansion, but it's a fact that, after four episodes, we are finally seeing the couple who can accomplish anything, even if sometimes it stretches the franchise's realism. Not for the first time, though, have audiovisual romances gained a touch of fantasy and convenience.
A detail is that as the building crumbles, Rick's emotional and traumatic barriers break down little by little as he opens up to Michonne. In the end, when he finally decides to return, the building collapses, a clear symbol that his bonds have been broken and he is now a new Rick, a man eager and full of hope to find his children. Presenting one of the franchise's best episodes, "What We" delivers a profound script, impeccable performances, and a well-dosed soundtrack. The effort the team put into this chapter is evident, especially the mastery Danai Gurira demonstrated as a writer. The series was being sold as an epic love story with Rick and Michonne, but what we have here is much more than that. With all the praise already given, I can't see this episode being left out of the awards season.
The Walking Dead: The Ones Who Live: Bye (2024)
A longer, but never boring, thanks to Michael Slovis's competent direction, which leverages the tense and stressful atmosphere of the CRM setting, as the central couple
In a flashback, Jadis approaches Rick in Millenium Park, and explains her people's deal with the CRM and her intention to sign up. However, Rick is only interested in escaping. After returning to base, Rick enlists Thorne's help in successfully getting Michonne into the consignment program, but Jadis warns that if Rick and Michonne escape, she will have to kill everyone that he loves for security. Rick attempts to help Michonne escape on her own, but she refuses to go without him. While touring Millenium Park, Michonne meets the artist who created Rick's engraved iPhones and finds new hope.
After receiving the Echelon Briefing - the revelation of all of the CRM's secrets - and a promotion, Thorne becomes unsure of whether to follow in Okafor's footsteps, reluctantly enlisting Michonne's help for the mission. When Michonne goes rogue during a walker fight, Thorne nearly kills her, and Rick ends their relationship in an attempt to protect her. Having earned Major General Beale's trust, Rick is slated to receive a promotion in advance of a summit of the CRM's entire leadership. However, Michonne throws herself and Rick out of a helicopter in a daring mid-air escape on the return trip in the middle of a severe thunderstorm.
After being admitted by the CRM auditors, Michonne becomes a consigner, highlighting the complexity of maintaining such a position. What happened to her is exactly what happened to Rick; both try to hide their true identities but fail. Rick's advantage was having Okafor (Craig Tate) to cover for and protect him, slightly reducing the risks. Michonne doesn't have that support. The episode's tension revolves around Thorne's (Lesley Ann-Brandt) growing distrust of her. Both she and Jadis have similar trajectories within the CRM - the higher they are promoted, the more they know about the community's secrets, and consequently, they protect and increasingly believe in Beale's ideals.
From my perspective, the highlight is entirely on Lesley Ann-Brandt. Thorne has risen in the CRM military hierarchy, replacing Okafor, but she emphasizes that she is not him. Although she doesn't explicitly say it, Thorne sees Michonne as a potential threat to her position, as Michonne is her responsibility. This becomes even more evident when she considers killing Michonne for disobeying orders on the walker-clearing mission. In these first three episodes, it is constantly emphasized that secrecy, security, and order are the CRM's pillars and must be placed above everything and everyone. It seems that after her promotion in this episode, Thorne has been brainwashed, now acting more for the CRM than for herself. She appears to want to rise to gain more power within the established system rather than change it, as Okafor wanted.
Another aspect that we got a taste of in the previous episode but is explored much more deeply here is the new dynamic between Rick and Michonne pretending to be strangers to protect themselves. This is certainly beneficial for them in the short term, but with Jadis in their way, everything becomes even more complicated. Initially, we believe the plan is for them to go together until we discover that Rick arranged everything for Michonne to escape, arguing that someone needs to stay inside to cover for her (Okafor left disciples). It's a brilliant move by the script to put both Rick and Michonne on the same level. While Rick sacrifices his safety and well-being to protect those he loves, Michonne does the same. When she learns that Rick won't be going with her, she sacrifices returning home to save him. She is clearly very angry about this, having gone through everything only to return home empty-handed. Despite her short time inside, she has already realized how ruthless the CRM is and makes it clear to Rick that they won't get out of there alone. As Jadis herself says, Rick alone is not a threat, but Rick and Michonne together can accomplish anything.
In a highly political episode with power plays, the moment that breaks all the tension is the scene with Michonne and the vendor. Here, the episode finally reveals who drew Michonne and Judith on the phone. Rick had repeatedly asked the man to draw the two and Carl (Chandler Riggs), but he never got it right. Seeing Michonne talk about Carl after so long without any mention of him is certainly heartwarming for every fan. The episode ends with Rick "breaking up" with Michonne, hoping it would motivate her to leave without him. She realizes that Rick has been completely changed and broken by his time with the CRM, bringing a sense of urgency for her to act on Rick's behalf, which she does. Despite the drastic move of jumping from the helicopter, we finally see the first joint escape attempt by the two, and from now on, we will see what the CRM is like compared to Rick and Michonne.
In terms of pacing, this episode is slower than the first two, focusing on establishing the plot's main obstacle: escaping the CRM. In Gone, the audience questioned the story's direction - whether we would have a plot about the characters' escape or their fight from within against the CRM, something made clear when the characters "fall" from the helicopter. Nevertheless, Bye takes advantage of the CRM's setting, with secrets, lies, conspiracies, and the main characters' tension about being caught, providing great scenes of stress and anxiety, especially when Pearl is suspicious of Michonne or Beale's distrust, who deserves more screen time. Even Jadis, not a standout character, fulfills her basic role of driving the plot by complicating Rick's life.
In a way, I am slightly disappointed with the narrative direction, as I truly believe there is much potential in exploring a story about Rick and Michonne rising through the ranks of this new society, altering the system from within, always in a state of alert and apprehension - something that would be innovative within a franchise that has already exhausted plots about conflicts between survivor groups. However, I understand the production's choice. This episode made it clear that this is a story about a resilient and surviving romance, focusing on the characters' determination to fight or sacrifice for this love, all within a story that progressively expands the franchise's universe with high doses of curiosity. This is the first chapter of the series that is not limited to contextualizations, allowing the story to finally flow and establish itself for the rest of the year. In this sense, it ends up being a more prolonged episode, but never boring, thanks to Michael Slovis's competent direction, which leverages the tense and stressful atmosphere of the CRM setting, as well as the central couple's drama. Additionally, we get some pleasant set-pieces, though I still believe we are facing another production that denies the franchise's horror characteristics. The cliffhanger is an excellent conclusion to the central plot conflict: Michonne forcefully bringing Rick back into the fight. It will be difficult, but can they escape?
The Walking Dead: The Ones Who Live: Gone (2024)
A good second episode. Here, the conflict's scale, the potential for a suspenseful narrative with characters inside the enemy's stronghold
Six years after Rick's supposed death, Michonne helps Aiden and Bailey reunite with their massive caravan, but refuses to join it out of disgust over the caravan's rules and her determination to find Rick and go back to their children. Aiden, Bailey, and their friend Nat outfit Michonne for her journey and later come to her aid against a massive horde, having been inspired by Michonne to break away along with dozens of others. The group agrees to help Michonne in her search, but the CRM attacks with chlorine gas, killing everyone except for Michonne and Nat who are forced to spend a year recovering from the damage done to their lungs and throats. Pressing on to the location mentioned in the boat's log book, Michonne and Nat find an abandoned and destroyed safe zone and dozens of burned bodies.
Nat convinces Michonne to return to Alexandria, but to keep faith that Rick is still alive. On the way back, the two spot a CRM helicopter and attack it using Nat's explosives in retaliation for the death of their friends, only for Michonne to be reunited with Rick. Nat is killed by a surviving CRM soldier, who Rick then kills. As soldiers close in, Rick helps Michonne create a successful cover story for the CRM, promising that they will escape together. However, Rick is confronted by Jadis who had recognized Michonne and threatens him if they try to escape while Michonne desires to take down the CRM despite Rick's warnings that they will never get home if they try to.
Unlike the previous episode, what is presented here is a more linear narrative, not relying heavily on time jumps as a script device. This approach makes sense for telling Michonne's story, as not much time has passed since her departure from The Walking Dead (unlike Rick, whose absence spanned six years). The episode begins with Michonne introducing herself to the leader of the couple she saved in the tenth season of the main series. They are willing to help her in any way they can as a gesture of gratitude. Michonne joins their caravan to continue her search for Rick, creating an interesting dynamic with the new characters, especially with Nat.
The dramatic weight of this episode is commendable from the start. While the previous episode showed a broken Rick resigned to never finding his family again, Michonne's journey is marked by resilience and courage. Danai Gurira returns with a magnificent performance, conveying her character's uncertainty, fear, and hope with incredible realism. Her portrayal is further enhanced by the supporting cast, which is both the episode's greatest strength and a slight flaw. One of the most compelling aspects of Michonne's journey is the imminent danger posed by the largest horde ever seen in The Walking Dead universe. The group warns Michonne that the walkers are migrating north (exactly where she needs to go), making the trip a suicidal mission. Walkers have been sidelined for a while as the writers have focused more on political and social plots, often neglecting the primary threat of this universe. While balancing this is interesting to avoid genre saturation, The Ones Who Live seems to strike a good balance, featuring epic walker scenes like the flaming walkers in the first episode and the massive horde in this one, all while deepening the characters' development.
As the journey continues, we witness the CRM's (Civic Republic Military) cruelty and capabilities. World Beyond had already shown the ruthless massacre of Omaha and Campus Colony, and here we see another chemical attack on a smaller scale. This is perhaps the closest Michonne has come to death since The Walking Dead, with only her and Nat surviving while the entire caravan group is exterminated. The episode also mirrors the first one's time jump, placing Rick and Michonne at the same point in the story, showing the helicopter crash from Michonne and Nat's perspective. This alternate viewpoint significantly enhances the episode's montage, especially since it's done without cuts (unlike the previous episode). The long-awaited reunion between Rick and Michonne is finally realized, executed with natural performances by Andrew and Danai, complemented by a spectacular soundtrack -everything fans have hoped for, leaving no room for complaints about their reunion.
However, not everything is perfect for The Walking Dead fans. Despite the focus on Rick and Michonne, Nat's death feels like a hasty decision. The last time fans grew attached to new characters was during Rick's farewell episode with Magna's group. Nat's clever, peculiar, and sarcastic character is crucial for the story, making his dramatic and comedic interactions throughout the plot impactful, and his unfortunate loss in the episode's final act felt significant. Even the actors playing Aiden and Bailey do a good job, creating a bond with Michonne that resonates with viewers. Keeping Nat alive might have been more interesting, especially since he would have a strong motivation to help bring down the CRM after witnessing his group's massacre. Unfortunately, that won't happen. The final sequence's editing deserves applause, with Michonne observing the CRM's vast military power, symbolized by Nat's lighter - a possible foreshadowing of future events (especially with all the promotional material centered around fire). The episode's final scene marks Jadis's (Pollyanna McIntosh) return, warning Rick that any further escape attempts will endanger his family, establishing her as the first obstacle Rick and Michonne must overcome to return home. Strong emotions await in the upcoming episodes.
Like the premiere, the second episode of The Ones Who Live maintains an excellent pace, keeping the momentum throughout. The technical aspects (both cinematography and soundtrack) elevate the episode, giving it a more cinematic feel. The idea of Rick and Michonne transforming the CRM from within appears more attractive, complex, and political, although it deviates from the franchise's survival and horror roots. However, the final tone suggests the duo will confront everyone, especially with Jadis Stokes's return as a classic antagonist in this type of familiar TWD narrative. Nonetheless, the conflict's scale, the potential for a suspenseful narrative with characters inside the enemy's stronghold, and the couple's strong relationship as the dramatic front all provide a solid foundation for a great post-apocalyptic romance.
The Walking Dead: The Ones Who Live: Years (2024)
The episode deviates from a linear narrative structure, instead playing with time to elaborate on the events during Rick's years at the CRM and Michonne's journey
Five years after being taken by the CRM, Rick Grimes has tried unsuccessfully four times to escape, including sending a message in a bottle to Michonne along with his belongings on one occasion and chopping his own hand off on another. Rick is assigned as a consignee, someone who spends six years doing work on the outskirts of Philadelphia - now the Civic Republic - before being allowed into the city. Rick dreams of a regular life with Michonne and eventually accepts an offer from Lieutenant Colonel Donald Okafor to join the CRM. Okafor reveals that he had helped the CRM, then the Pennsylvania National Guard, save the city from being napalmed at the cost of his own wife and he attempts to recruit Rick and Pearl Thorne into his plan to change the CRM from the inside.
After another failed escape attempt and the destruction of Omaha, Rick finally accepts his new life and a position building a CRM forward operating base in the Cascade Mountains. Recalling a story from his childhood, Rick agrees to join Okafor's plan, just before their helicopter is shot down with Okafor being hit with an explosive projectile and blown up. The attacker then kills the other soldiers one by one after they exit the helicopter until she gets to Rick. She takes his helmet off and realizes that it's Rick, then takes her own mask off revealing herself to be Michonne who is reunited with Rick for the first time in years.
Andrew Lincoln returns to play the relentless Rick Grimes alongside Danai Gurira (Michonne) in the highly anticipated spin-off "The Ones Who Live." This new six-episode project not only features the two as actors but also as creators, which is a significant advantage for the series given their intimate knowledge of their characters. The quality of having Andrew and Danai in these roles is evident from the outset. After Rick blew up the bridge in the ninth season of The Walking Dead, he was rescued by Jadis and taken to one of the bases of the planet's most powerful military organization, the CRM (Civic Republic Military). During the years following his disappearance, his family believed he was alive and continued searching for him despite the uncertainty. This narrative takes a turn in the tenth season, specifically in Danai Gurira's final episode, when Michonne discovers that her husband is alive and embarks on a personal quest to find him. Thus begins the journey of The Ones Who Live.
The pilot episode impressively deviates from a linear narrative structure, instead playing with time to elaborate on the events during Rick's years at the CRM and Michonne's journey since she left. The episode focuses heavily on Rick, who is determined to return to his family, going to extreme lengths, including severing his own hand to escape the CRM's clutches. The script effectively portrays Rick's desperation and repeated escape attempts, showing a broken and defeated Rick in a way never seen before, even with all the losses he endured in The Walking Dead.
Andrew Lincoln excels in this role, conveying the character's complex emotions with such intensity that it often leaves viewers uneasy, especially during Rick's radical and desperate actions. With the high expectations and attention this series is likely to garner in the United States, there's hope that Andrew will receive well-deserved recognition in the upcoming awards season, despite being overlooked during the main series run. While Rick Grimes undoubtedly takes center stage, the supporting characters introduced to provide context about the CRM are also noteworthy. Lesley-Ann Brandt (Lucifer) delivers an outstanding performance as agent Pearl Thorne. Her character is Rick's foil, committed to the CRM's mission and dismissing the past, thus deepening Rick's sense of hopelessness. The chemistry between the actors is excellent.
Craig Tate (Okafor) also makes a significant impact, even though his character's arc begins and ends within the episode. He is well-developed and intriguing, particularly because he knows about Rick's family through the letters Rick tried to send to Michonne, which could pose a significant threat in the future. In a brief but chilling scene, Rick interacts with Major General Beale (Terry O'Quinn), whose cold demeanor and cunning promise to be a major obstacle as the series progresses.
Overall, the first episode sets the stage for the series, explaining Rick's survival post-bridge explosion (albeit without much detail) and his subsequent capture by the CRM. The narrative introduces the CRM's secretive society and the vast scope it adds to the franchise's mythology. The dramatic weight of the episode is commendable, reintroducing viewers to a broken Rick Grimes who will go to any lengths, including self-mutilation, to escape his captors. This intense portrayal by Lincoln is among the most emotionally authentic moments in the franchise's recent history.
The episode's dramatic and visual storytelling is strong, despite occasional lapses in dialogue that can feel unnecessarily expository. The atmospheric editing of Rick's relentless escape attempts adds a layer of visceral engagement, enhanced by Lincoln's expressive performance. The introduction of the CRM and its secrets adds a significant and intriguing new dimension to the series, potentially exploring political and social themes within the militarized hierarchy. While it remains to be seen if the writers can fully capitalize on this potential, the episode provides a promising foundation.
In conclusion, "The Ones Who Live" delivers a cinematic quality that stands out within the franchise. The costumes for the CRM soldiers are sophisticated, and the soundtrack perfectly complements the scenes, particularly the opening and closing themes that resonate deeply with fans. The episode's final sequence is especially noteworthy, as Rick recounts more of his past, adding layers to his character before the dramatic helicopter crash. This spectacularly tense scene, coupled with the audience's emotional response, underscores the series' ability to balance high stakes with character-driven drama. After six long years, "The Ones Who Live" brings back Rick Grimes in all his layered complexity, paving the way for an epic love story between Rick and Michonne. With the substantial investment from AMC, this series promises to be a significant addition to The Walking Dead universe.
The Walking Dead: Daryl Dixon (2023)
The series offers fans a deeper look into the life of one of its most intriguing characters, but struggles with pacing and a lack of narrative innovation
"The Walking Dead: Daryl Dixon" offers fans of the series a deeper dive into the life of one of its most beloved characters. The first season focuses on Daryl Dixon's journey as he navigates the post-apocalyptic world, grappling with his past and forging new relationships. The season opener sets the tone, showing Daryl's resourcefulness and survival instincts as he navigates a dangerous landscape filled with walkers and rival factions.
One of the season's strengths is its character development, particularly in its portrayal of Daryl. Viewers get to see a more vulnerable side of the character as he confronts his past traumas and struggles with his sense of identity in this new world. Norman Reedus delivers a compelling performance, capturing the complexity of Daryl's emotions with subtlety and depth.
The season also does a commendable job of expanding the world of "The Walking Dead," introducing new characters and locations that add richness to the narrative. The inclusion of flashback sequences helps to flesh out Daryl's backstory, providing context for his actions and motivations.
However, the season is not without its flaws. Some episodes feel repetitive, with Daryl facing similar challenges and obstacles in each installment. The pacing can also be uneven at times, with certain episodes dragging while others feel rushed. Additionally, the season's conclusion leaves some questions unanswered, which may frustrate viewers looking for closure.
In terms of direction and cinematography, the season is solid but unremarkable. The show effectively captures the bleakness of the post-apocalyptic world, but there are few standout visual moments that truly elevate the material.
Overall, "The Walking Dead: Daryl Dixon" is a solid addition to the "Walking Dead" universe, offering fans a deeper look into the life of one of its most intriguing characters. While it struggles with pacing and a lack of narrative innovation, it succeeds in delivering a compelling character study that will satisfy fans of the series.
The Walking Dead: Dead City (2023)
"The Walking Dead: Dead City" shows promise but falls short of its full potential, struggling with pacing issues and a lackluster finale
"The Walking Dead: Dead City" presents a promising premise but struggles to deliver a cohesive narrative in its first season. The season follows Maggie and Negan as they navigate the post-apocalyptic ruins of Manhattan, facing challenges from both the undead and human survivors. The season opener sets the stage, introducing the fractured society of survivors and hinting at deeper conflicts to come. As the season progresses, tensions between Maggie and Negan escalate, culminating in a dramatic showdown that tests their moral compasses and loyalty.
One of the season's strengths lies in its exploration of complex themes such as redemption, forgiveness, and the nature of humanity in extreme circumstances. The dynamic between Maggie and Negan is particularly compelling, as both characters grapple with their past actions and strive to find their place in this new world. The performances of Lauren Cohan and Jeffrey Dean Morgan elevate the material, bringing depth and nuance to their characters' emotional journeys.
However, the season is not without its flaws. Pacing issues plague several episodes, with some moments feeling dragged out while others feel rushed. The introduction of new characters and subplots can be overwhelming at times, diluting the impact of the main storyline. Additionally, the season finale's resolution of the conflict between Maggie and Negan feels somewhat contrived, lacking the emotional weight and payoff that was built up throughout the season.
In terms of direction and cinematography, the season is a mixed bag. Some episodes feature stunning visuals and inventive camerawork, effectively capturing the desolate beauty of a post-apocalyptic Manhattan. However, there are also instances where the direction feels uninspired, failing to capitalize on the show's unique setting and premise.
Overall, "The Walking Dead: Dead City" shows promise but falls short of its full potential in its first season. While it excels in exploring complex themes and character dynamics, it struggles with pacing issues and a lackluster finale. With some refinements to its storytelling and direction, the series could evolve into a compelling addition to "The Walking Dead" universe.
The Walking Dead: Dead City: Doma Smo (2023)
This season finale ends with a Hershel's rescue with a completely anticlimactic and lazy plot that only wants to sell the next season instead of telling a good story
The Walking Dead finale delivered a worthy and well-crafted "solution" to the Negan and Maggie conflict, which had been building since Rick spared Negan at the end of the eighth season. Because of this, many fans were skeptical about the resources that would be used to bring these two together again. Six episodes put the two on a new mission, but was this enough to innovate the dynamic between them? Fortunately, yes. The last episode of the first season of The Walking Dead: Dead City resolved issues that had been raised in previous episodes and opened up new paths for a possible second season.
Right at the beginning of the episode, we have Ginny and Negan's encounter, where he questions her about what she was doing there, since she had already been left at New Hilltop. At the same time, he questions Maggie if she knew the girl was in Manhattan, and she lies, saying she didn't. It's interesting how the series tries to constantly switch the characters' positions, putting Maggie to do some things that the old Negan did, being hypocritical to a certain extent.
Speaking of Negan, he immediately shows his outrage when Ginny tries to retort, and he takes the opportunity to tell the truth that he was responsible for her father's death. All the protective feeling the girl had for Negan seems to have ended, and she agrees to return to New Hilltop under Armstrong's protection. This scene was certainly a big surprise; I don't think anyone was expecting that. Continuing with the mission, Negan and Maggie confront The Croat to try to rescue Hershel. Along the way, the two dialogue until the truth comes to light. The way Negan discovers Maggie's lie through her glances, silence, and movements is brilliant, and since The Walking Dead, it has been established how well these characters know each other. From this, the perfect scenario is created for the great conflict between them.
The fight between the two is very well choreographed and visceral. The direction used the camera angles very well to show Negan trying to escape and Maggie going after him, while also having to deal with the walkers. The way the setting was used here as an important element in the fight is very creative, with both of them cornered while a small horde is right below them. The only flaw here is that when Maggie stabs Negan in the shoulder, he easily removes it and there's not even any blood, it continues as if nothing happened. I don't know if it was an editing mistake, but I felt uncomfortable watching it. However, this small caveat doesn't spoil the grandeur of the scene, which represents not only a physical fight but also a psychological one.
After the fight ends, Maggie finally fulfills her agreement by handing Negan over to The Croat while he returns Hershel. The reunion scene between the two is somewhat lukewarm not because of the performances, but because of the way their relationship was before Hershel was kidnapped. The boy still seems unmotivated and tired, treating his own mother as disposable even after everything she went through to get there. The approach to motherhood and the responsibility of having a child is more deeply explored in this episode than in previous ones. We also discover here that New Babylon is interested in New York because of the number of walkers present, which are essential for producing energy through methane, as shown in the fourth episode of the series. If there is a renewal of the series, I don't see how this nucleus will fit back into the story of the second season, as the approach seems to be different.
Just when everything seemed to be over, the series surprises us again. Now in the hands of The Lady, Negan discovers that The Croat was just a means used for her to get what she wanted. The character wants a leader to unify the communities in Manhattan and from what she heard about the Sanctuary, it made her want to put Negan in this position. She gives him the "keys to the Kingdom" along with a box with Hershel's finger. The Lady implies that if Negan doesn't do what she wants, she can always come back for more, showing how cruel she can be. When you remove all the preparations, The Lady Smo is shown to be a collection of nothing under many conveniences. We start with the lack of zombies throughout the season conclusion, with no use of terror throughout the story, to the absurd ease with which Armstrong and Maggie return to their respective cities in a cut. The much-promised exchange between Hershel and Negan as bait has no suspense whatsoever; the fun Croat is subjugated to a lackey; New York becomes just another setting.
Dead City started with a promise of something with personality and identity in a worn-out franchise, but since then, we've only seen more of the same. Between zombies being discarded, underused scenarios, and a lack of creativity with suspense and horror, The Lady Smo tries to sell that Negan and Maggie fight as the culmination of something, but, in fact, the season's conclusion, which actually concludes nothing, ends Hershel's rescue with a completely anticlimactic and lazy plot that only wants to sell the next season instead of telling a good story.
The Walking Dead: Dead City: Stories We Tell Ourselves (2023)
The plot twist with Maggie is interesting, shaking up the already tumultuous relationship between the co-leads and giving purpose to Ginny in the series
Since Maggie (Lauren Cohan) rescued Ginny (Mahina Napoleon) from the arena in the previous episode, the script has been working with Ginny's distrust of Maggie, both because of what Negan (Jeffrey Dean Morgan) must have told her and the way they were approached by Maggie back in the first episode. It's interesting how this unfolds throughout this episode and how it culminates in the revelation of the plot twist at the end.
With the help Negan gave Armstrong (Gaius Charles) in the previous episode, the relationship between the two characters has been developing in a friendly way, as one needs the other to get out of there. It is revealed here that Armstrong has knowledge about the dock and the boats, which must be used in the next episode. All this development leads us to believe that the Marshall will correspond to Negan, as the character has become increasingly less resistant.
Returning to the group in the sewer, there is the discovery that Tommaso (Jonathan Higginbotham) is a traitor and was informing The Croat (Zeljko Ivanek) that the group was coming to rescue Hershel (Logan Kim). This didn't make much sense since there was no previous construction about his true motivation for acting this way. It seemed like all this justification served only to lead to his and Amaia's (Karina Ortiz) death. The death scene of the two was a bit strange, with walkers waking up in a coordinated manner, which seemed forced so that they would die quickly. Although they were two completely wasted characters, I see this from the perspective that focusing on Negan and Maggie in the final episode will be more interesting.
As for The Croat's presence in this episode, we see that he doesn't have total control. Upon arriving at that theater, we see that he is not very respected there and seems to answer to a woman (who also seems to be already familiar with Negan). We don't know if she already knew him before or if she only knows him from what The Croat said. Either way, with only one episode left in the season, we don't know if his presence will be irrelevant or if it will have a greater weight in a possible second season. Another very well-addressed point in the episode is The Croat's frustration seeing that Negan is not the same as during the Savior's time, and his "idol" seemed to really be focused on the mission and ignored everything the character built within that arena. Seeing The Croat hopeless, who had placed a lot of expectation on Negan after suffering the loss of his family, puts him disillusioned. Finally, in this episode, the moment that all fans were waiting for arrives, the fight with the fused walker. Obviously, the characterization was perfect (as always in The Walking Dead Universe), but the fight was too fast. The concept of the walker being trapped in the sewers for a long time and ending up joining with others due to the action of nature is phenomenal and could have been better exploited here. It's epic to see Maggie fighting and trying to hit each head to knock down the "King Walker."
The series' plot twist is revealed in this episode. The whole story told by Maggie is a lie. From the first episode, the series implied that Negan's wanted poster was given by the Marshalls, when in fact The Croat himself gave it to Maggie. The story of Hershel being a guarantee for New Hilltop to deliver their grains is a lie, as we are reminded of flashbacks of when Ginny was escaping from there and observed the silo full of grains. With Ginny firing the flare to get Negan's attention, Maggie is no longer just worried about saving Hershel, but also about not letting Ginny get to Negan. Inevitably, this must happen and put the two in antagonistic positions again.
The strongest point of the episode was definitely the excellent direction in the sewer scenes. The scenes convey discomfort, which shows that the direction was very effective in what it set out to do. Very immersive with the cameras shaking, focusing on the characters' breathing along with the sounds of the environment. "Stories We Tell Ourselves," despite making some questionable decisions regarding the script, is an episode that maintains the constructive line established by its predecessors. The story progresses by revealing Maggie's true intention, and this builds a climate of great curiosity to know how the season will end. Despite overdoing it with the plot twists (Tommaso's betrayal; The Croat's boss; and Maggie's lie), the plot has welcome surprises for a story that had been sounding boring in the last few episodes. We end up having a new antagonist at the 45th minute of the second half, also because I don't see the need for a second year, but the twist with Maggie is interesting, shaking up the already tumultuous relationship between the co-leads and giving purpose to Ginny in the series, now that Maggie has to save Hershel while hiding her lie. Even so, we could have seen less talk and more horror.
The Walking Dead: Dead City: Everybody Wins a Prize (2023)
The way the mission is developed ends up lowering the quality of the episode. The production wastes the subway block, and the back and forth of the characters is kind of empty
The episode begins with flashbacks of Negan (Jeffrey Dean Morgan) and Simon (Steven Ogg) at the Sanctuary during the events of the eighth season of The Walking Dead. This ends up confirming the rumors that had been circulating for some time that Steven Ogg had returned to film and that Jeffrey Dean Morgan would be rejuvenated for the scene. Seeing the two actors acting together is quite nostalgic, and the addition of The Croat (Zeljko Ivanek) as a counterpoint to the two is very welcome. We finally see what the character is capable of doing to get what he wants, and it is explained why we saw a hesitant Negan up until now. That said, the script works cohesively and elucidates the dynamics between the Saviors, serving as a way to fill in gaps.
Continuing the plan that was being devised in the previous episode, Maggie and her group use the subway lines to enter the arena and complete the mission of rescuing Hershel. The way the direction uses low lights, claustrophobic rooms, and bloodied locations is enough to create an atmosphere of tension and fear of what may come. The dead teenager in the chair shows Maggie's fragility and her extreme fear of losing her son, while also making Negan try to reassure her, which adds a new element to the dynamic between the two that has been presented since the beginning of the series.
"Listening to a song I don't want to hear again." Yes, this Negan's phrase demonstrates that he does not want to relive memories that remind him of his time with the Saviors, and all of this adds to the ideological confrontation between Negan and The Croat, making it much richer and more interesting. Seeing a changed Negan since the last time he saw The Croat, while he remained the same sadist, creates dialogues and moral conflicts that The Walking Dead has always known how to work very well. The negative point of the episode is Armstrong (Gaius Charles), who was used as a resource to test Negan, but seems forced, since a predator-prey relationship has been built between these two characters so far, and changing that now doesn't seem very coherent. The Croat takes advantage of this situation to see how Negan is acting, as it has been a long time since they last met. When they manage to escape from the arena, again in an unnecessary scene, it makes no sense for Armstrong to point the gun at Negan and want to kill him after being saved, besides needing Negan to get out of Manhattan alive. Ginny here doesn't serve as many purposes as she did in the previous episode, but having her with Maggie should be relevant to the plot of the two final episodes.
Maggie's core here was the highlight of the episode. Knowing of Negan's presence there, The Croat makes a plan to ambush Maggie's group. This shows how savvy The Croat is and really prepared for the apocalypse. It was very well planned, and the fight between the zombies with the background soundtrack is spectacular. Another highlight of the scene is that the script brings back Maggie's leadership aspect, which she uses her creativity to help her group get out of the dangerous situation (and it works!). With no way out, the only solution found by the group is to escape through the sewers. The sewer sequence has everything to be one of the climaxes of The Walking Dead universe so far, as it has been a very used element in the series marketing and has been mentioned since the first episodes. The ending with Maggie disappearing into the darkness as she goes down the stairs sets the tension for the next episode. With two very well-divided cores, the fourth episode further explores the theme of how our past can haunt us. Both protagonists are having to face their past in Dead City, which creates a new dynamic between them. With the dangers shown so far, I wonder if the mission will be completed or if the ending will be open for a second season.
The way the mission is developed ends up lowering the quality of the episode. The production wastes the subway block (was hoping we'd have something cool in this scenario) and the back and forth of the characters is kind of empty, without much suspense or tension, except perhaps for the well-directed sequence of Negan in the parking lot. But from the moment the undead come into play, the episode becomes fun, with the old antagonists of this universe gaining strength in numbers in a block with good camera work. Some choreography choices are strange, like the fact that the characters didn't enter the ring before they died like mosquitoes (oh, how good it is to kill people who don't matter!) or Tommaso's senseless survival, but my namesake Kevin Dowling doesn't do too bad in the director's chair with the big battle of the episode. There is a slight claustrophobic quality in the direction that is also interesting, along with dark lighting that creates a good atmosphere - the soundtrack, however, remains indifferent in the work.
The fact that we don't have any monologues is a bonus, with good dramatic developments for the protagonists without people spilling six pages of script. With Negan, the insertion of the flashback at the beginning of the episode works both to establish the antagonist and to put a "front" to what has haunted the character, with the reunion between him and The Croat being a highlight with the villain acting as a showman and being disappointed with his former mentor's new personality. With Maggie, her sequence of investigating the desperate rooms to find Hershel, the rescue of Ginny, and the return of her leadership during the episode's climax are good moments to work on the character's anguish and strength.
Make no mistake, "Everybody Wins a Prize" is nothing special and does not demonstrate the potential that Dead City promised at the beginning, as the underground and neo-western tone of the series has practically disappeared, and we have seen little of the destroyed New York in the last three episodes, but it is an honest and enjoyable episode in its obviousness, with good developments for the main duo. In fact, the division of the plot between Negan and Maggie is welcome to shake up the narrative. The fact that the ending with the characters entering the sewer is the best scene can be seen as both a merit and a demerit to the quality of Everybody Wins a Prize, but it definitely left me curious for next week.
The Walking Dead: Dead City: People Are a Resource (2023)
In this episode, the relationship between Negan and Maggie gains new elements in each episode, which are softening the conflicting situation between them
In flashbacks, Negan bonds with Ginny as they search for her missing toy. In the present, Ginny makes her way to Manhattan. The Croat holds Perlie prisoner in the revamped Madison Square Garden where he tests the marshal's abilities in a ring fight against walkers and questions his motives. Perlie eventually reveals that he's in Manhattan hunting for Negan, much to the Croat's shock who in turn reveals that he had lost his family to cannibals near the start of the apocalypse. The tribespeople tell Maggie and Negan about the Burazi's operation which they recognize as a twisted version of the Saviors and, using the story of Negan's defeat by the Militia, inspire the tribespeople to help them. Tommaso reveals that he had been captured and tortured, but he had managed to escape using the old framework of Penn Station and the subway system which they can use to get in. Maggie opens up to Negan about the loss of Hershel and her family and Negan in turn reveals that he had sent Annie and his son Joshua to safety in Missouri after killing five men who had robbed, beaten and raped Annie in revenge, which is why he's a wanted man. Luther discovers Negan's wanted poster, leading to a fight in which Negan gives in to his darker instincts and kills Luther. After finding Ginny's toy, Maggie contemplates burning it, secretly observed by Ginny.
The episode begins with flashbacks of Negan and Ginny that extend throughout the chapter, being of great value for the development of their relationship and giving Negan a reason to fight. The series uses an interesting resource to strengthen their relationship, the stuffed dinosaur, a very symbolic element for the character. The way they communicate through whistling is also a creative shortcut of the script, since Ginny does not speak due to the trauma she suffered when she lost her father. It is almost certain that this resource introduced here must be used again, since Ginny will probably face some dangerous situation in Manhattan and will need Negan's help.
The episode's script, written by Keith Staskiewicz, gives greater importance and development time to Tomasso and Amaia's group, showing and explaining some of their moments on the island, especially Tomasso's traumas fleeing from the Croata through the sewers. Even though they don't have much screen time, it's noticeable that the group is creating bonds with the protagonists and, from what we were used to with the main series, some of the group members may die in the upcoming episodes. This becomes more likely when the characters put the plan to attack the stadium into action. Speaking of the stadium, another highlight is the Croata, the series' antagonist. His insanity and sadism are high points here, and it is clear how Negan's worldview has influenced the character, who is trying to build a kind of Sanctuary where any survivor can join. This embeds the issue of protecting people and lives up to the episode's title "people are a resource." After a long time trapped in Alexandria, Negan's perception of the world and people has changed, and an ideological conflict between the two characters will be sensational when this encounter occurs.
The test the Croata performs on Armstrong is very reminiscent of the sick spectacle that was done in Woodbury, which was the group's entertainment. Here, the series clearly references the sadistic spectacles that the Governor promoted in the third season of the main series. Despite introducing new elements, in each episode the writers bet on references to remind us that The Walking Dead will always be alive. After winning the confrontation against the walker, Armstrong finally reveals that the reason he is there is to kill Negan. Thus, the Croata now discovers that he is in Manhattan and will do everything to have his revenge.
Fortunately, Kevin Dowling's direction is very efficient and different from anything shown in the franchise so far, with less expository dialogue and more focus on the characters' drama to move the story forward. The way the two co-protagonists are written in the episode is interesting, especially in the dialogue where they share their latest traumatic experiences. The fact that Maggie argued with Hershel moments before he was kidnapped makes the character feel a guilt that we didn't know about until then and adds an extra element for her to save her son. On the other hand, Negan finally reveals that he taught a lesson to those responsible for attacking his wife, and this is why he is being sought by the Marshals - for committing this crime.
The highlight of the episode is the confrontation between Negan and Luther, which has been built since the beginning of the episode and ends here. Luther discovers that Negan is being sought and prefers to expel him to defend his group. In contrast, Negan seems to want to resolve the situation peacefully, but shows that when necessary, he unleashes his inner monster mercilessly to get rid of the situation. The old Negan needs to return in risky situations, but it is clear that the character is progressing and his development built before Dead City was not thrown away. It is clear that the story could increase the volume of madness a la Mad Max and Carpenter, but I doubt that will happen, as it is a shame how the plot has been moving at a glacial pace in the last two episodes, with more dragging than necessary with Ginny's flashback insertions, still disconnected in the story and without much purpose beyond humanizing Negan, and also the core of the group found by Maggie and Negan that is doing overtime. It will be interesting, however, how the survivors' relationship with Negan will be after Luther's death at the end of the episode.
This third episode of Dead City creates new elements for the plot and sets up the board for the final three episodes that promise to be explosive. The relationship between Negan and Maggie gains new elements in each episode, which are softening the conflicting situation between them. Many resources presented so far are increasing the scale of The Walking Dead Universe, both in settings and in deep dialogues, which have not been explored much in the last seasons of the main series. I feel that many innovations will still be introduced in this spin-off and I can hardly wait for the next episodes.
The Walking Dead: Dead City: Who's There? (2023)
In narrative terms, "Who's There?" is full of intercalations between action and moments of exposition, but we have great moments with Negan especially. Knock Knock!
Starting immediately after the events of "Old Acquaintances," we see that the woman from the last episode stole their supply bag, and Negan and Maggie see no option but to go after her, as they were also surrounded by walkers. On top of a building, they both cross to another building using a zip line to retrieve their supplies. Here, the series introduces a new feature that could be very valuable for future episodes, which is Maggie's fear of heights. Since zip lines are the most effective method of transportation in post-apocalyptic New York, this new element introduced adds a new layer to the character, who must now constantly face dangers involving height. Even with the zip line jamming at the end of the crossing, Maggie refuses Negan's help, showing that she is willing to do anything contrary to not owing him future favors. A curiosity that may have gone unnoticed in the episode is the opening scene. The walkers pushing the door and the hands passing through the gap is a clear reference to the main series pilot "Days Gone Bye" with Rick's scene in the hospital and the "Don't Open - Dead Inside" door. This episode was marked by some references to the great moments of the series.
Later, we are introduced to the new Hilltop from Ginny's point of view. What stands out in the scene is the more "urbanized" aspect of the community, which seems to be larger than the one shown in the main series. An interesting point in the sequence is Ginny being introduced as a resident of Oceanside, which doesn't make much sense since Negan told her story in the previous episode. Even with the information not matching, it is likely that the series will explain the discrepancy in information shown here. Immediately, we have a beautiful and poetic transition from a lonely Ginny in the room to a deep dialogue between Maggie and Hershel. Here, a more apathetic and melancholic Hershel is presented due to all the events involving his mother, and he carries part of her pain with him. This flashback scene showing the dialogue between the two characters is important because it fills in some gaps in the time that has passed, and we are gradually introduced to the information. This brings a lot of cohesion to Maggie, resulting in a deeper relationship with her son. It is interesting to note that the direction is trying to bring references to the main series to stir the most avid fans of the universe, and in this flashback scene, Maggie's visual aspect is identical to that of the farm era. Another important point of the episode was the fact that Armstrong revisited his past, returning to an old family apartment. From what is shown, it seems that the person who committed suicide is his brother. The point here is that this could become an additional factor to fuel the character's intentions.
The New York group presented here captures the two, which leads to a dialogue scene where Negan tells the truth about The Croat. He recounts that during the Savior's time, the villain was able to torture a child to obtain information he wanted - which clearly makes Maggie tense since he is in possession of her son. When Negan found out what had happened, he tried to kill him but the shot grazed him, and that's how The Croat lost his ear. This would be one of the plausible reasons for Negan to be in the sights of the new antagonist. After being attacked by armed people, Negan and Maggie are released to help in the fight, and when one of the enemies kills an important member of the group they are integrated with, Negan finds himself in a position to teach the enemies a big lesson.
In the sequence, we have what may be one of Negan's best scenes in his entire journey so far. The direction does a great job by starting the scene showing the character emerging from a shadow, which becomes even poetic, making him have to resort to old habits to take control of the situation. What he does to a member of the enemy group is similar to what he did to Spencer in Alexandria, aiming to send a message to the group. Only Jeffrey Dean Morgan is able to deliver a scene that is both funny and brutal at the same time, and that is certainly among the character's best scenes so far and it speaks to the genre of the series, bringing back the origins of The Walking Dead, since in the end of the series we didn't have much of that gore that was rescued in this sequence.
In the first episode, there was not so much evidence that the old Negan would return, he was behaving as at the end of the series. The awakening of his psychopathic side becomes very valuable and will be excellent for the development of the plot, because it shows that the character can solve complicated situations in a cold and brutal way. At this point, Maggie realized that this Negan she hates so much is necessary if she wants to rescue her son. It is important to note that the script makes it clear that Negan has something kept in his journey, his redemption, everything that happened to him during the main series, especially regarding his relationship with Maggie, and at the same time, when he is in extreme situations, he brings back his old psychopathic traits. In fact, we can see the maintenance of the character's development when he says that it is necessary to make exchanges with people and release information gradually, otherwise it is giving too much power to the enemy (this was clearly seen in the Commonwealth arc). A criticism of the episode is the underutilization of The Croat, who has the potential to be a great villain. In the two episodes shown so far, he appears only in the final scene of the episode to impose fear, which is enough to increase the viewers' expectations. However, if this formula is repeated for the rest of the episodes, it could become clichéd, and the series may be wasting time developing the character.
In narrative terms, "Who's There?" is full of intercalations between action and moments of exposition. The episode demands patience beyond what is necessary, but there is something to be appreciated in the conversation scenes. We can see the dialogue at a better level than what we had in the original series, with more mature approaches to drama and few moments of silence, an art that this franchise seemed to have forgotten. The bathroom scene is particularly interesting, with the script knowing how to bring The Croat's past context in a natural way, with a great speech by Negan. Him saying he is "a monster only absolutely when necessary" is the biggest lie of all, since he raped and tortured his own people, but showrunner Eli Jorné has done a good job of putting the sadistic character back on track. His cynicism mixed with sarcasm has returned, along with his survival techniques as a bloody showman. Although the construction of the scene where he beheads his enemy is not so well directed, the "show" created by Negan is a highlight in itself, with an interaction of just looks between the anti-hero and Maggie that speaks volumes. Jorné's text does not paint the character as a diabolical being, but it also does not force that redemption arc of the family man that the original series tried to shove down our throats, which is good. However, I would like to see more development for Maggie. Despite the occasional praise, Loren Yaconelli has proven to be an extremely limited director, despite the clear efforts of the production with setting and visual identity, and her poor work results in an episode with a terrible pace. The blame is also partially on Eli Jorné, who has been moving the story forward by dragging it more than he should, especially when we remember that we are watching a miniseries.
The Walking Dead: Dead City: Old Acquaintances (2023)
A good surprise, the fans of TWD hope the miniseries continues in this neo-western vibe and knows how to take full advantage of New York's metropolitan setting for horror
Following an attack on the new Hilltop, now called the Bricks, Maggie's son Hershel is kidnapped by the Croat, a former Savior who is living in Manhattan. Desperate to save him, Maggie reluctantly tracks down Negan for help who is on the run from New Babylon marshals led by Perlie Armstrong after supposedly murdering five people. In exchange for Maggie giving his young companion Ginny a home at the Bricks, Negan agrees to help her with the two taking young marshal Jano hostage and Maggie having to deal with hatred of Negan for Glenn's murder. In Manhattan, the trio encounter walkers falling from the buildings and a cat-and-mouse game with Perlie in a dry cleaners who accidentally kills Jano while chasing after them. Elsewhere, the Croat questions Hershel for information on Negan and sends an escaped prisoner to his death after the man refuses to answer questions about his group.
In the opening of the episode, we are introduced through Maggie's eyes to one of the world's largest cities destroyed and overrun by the dead. Weakened by the kidnapping of her son, the character is around the city to gather possible evidence of Hershel's whereabouts. It is worth noting here that the CGI of the scene is perfect, and it is evident that AMC really invested in this spin-off.
Maggie's moment of concentration is interrupted when a walker attacks her, and here we have one of Lauren Cohan's best scenes as Maggie, where the actress manages to realistically convey the disturbing feelings of her character. She hits the walker with her binoculars until his skull explodes, referencing the brutal death of her husband (what a clever move by the writers). Next comes the series' opening, which is incredibly well done and detailed. In it, we can see some of New York's most emblematic landmarks, such as the Brooklyn Bridge, Times Square, and the iconic Statue of Liberty. The tense music and vibrant animation perfectly match the series' theme.
With a new camp not too far from The Walking Dead communities, Maggie goes to a hotel and discovers that Negan is sheltering with his new adopted daughter, Ginny. Upon reaching him, Maggie questions him about Annie and her son, but he avoids the subject, a factor that bothered in the episode since everyone wanted to know what happened for him to be alone.
Maggie tells him about Hershel's kidnapping and that he was taken by a former Savior member, The Croat. When Maggie does the iconic whistle to reference the Saviors, it was spine-chilling. In exchange for Negan's help in going to Manhattan and saving the child, Maggie would keep Ginny safe in her camp.
Meanwhile, we are introduced to a new group of antagonists, The Marshals. This group is formed by patrolmen from New Babylon who seek out people who have committed atrocities, serving as vigilantes. Outside the hotel where Negan was staying, the group's leader finds a book on the ground with the region's mapping, and only the Manhattan page is missing, leading them to think that Negan may have gone there.
Waiting for someone to pick up Ginny and take her to the camp safely, Maggie decides to rest in the car, and here we have a strong scene. Memories of Glenn being brutally killed along with flashes of Hershel being kidnapped come to her mind, and the character is increasingly developed and complex, especially regarding her post-traumatic stress disorder, which had not been maturely addressed before as it was in this episode.
When Maggie and Negan are about to board the boat and go to Manhattan, the group appears. Strategically, they both kidnap the young man from the group to use him cleverly. At this point, an intense conflict between the protagonists begins. When the young man starts talking about his family to persuade Maggie, Negan decides he will throw him off the boat, but Maggie intervenes, saying he can be used strategically against the Marshals and that it doesn't matter what Negan thinks. He retorts, saying that since Hershel was kidnapped, old memories have come back along with the desire for revenge. In this sense, he pushes Maggie against the wall by asking how many parents she has killed, a moral debate they had never had before, as in the main series he was always in a position of not questioning.
When they finally arrive in Manhattan, we get a beautiful glimpse of the destroyed Brooklyn Bridge. It is revealed that the government bombed all the bridges leading to the island to isolate it and try to contain the infection. Walking through the city, walkers start being thrown from the tops of buildings, and a huge horde is attracted by a sound truck. Maggie, Negan, and the kidnapped young man hide behind a pile of garbage, and here we have a disgusting scene of a cockroach infestation that forces them to leave. Luckily, the Marshals arrive and eliminate the walkers, giving them time to escape. The slightly greenish lighting and the dark filter create a tense and unsettling atmosphere.
They enter a building to hide, but the group's leader arrives. Finally, Pearlie Armstrong introduces himself to Maggie as a New Babylon vigilante and says that what he does is to protect his wife and daughter. Walkers manage to enter the building, and again, the writers show a lot of creativity in their approach to New York, with a zombie that has a live rat in its mouth attacking the young Marshal, who is soon killed by his own group member. Maggie engages in a physical fight with Armstrong and exposes his motives, which are not enough to make him give up. So, she knocks him out, and Negan and Maggie flee.
In the final scene of the episode, the main antagonist of the series is finally introduced. The Croat is in front of Hershel, who is tied to a chair about to be tortured (hardcore fans will remember that this is similar to the scene from the third season of The Walking Dead when the Governor does the same to Glenn). The moment is cut short when a group member arrives and says that a prisoner has escaped. He tries to escape through the zip lines connecting the buildings of New York, but The Croat cuts the cable and the prisoner falls. The former Savior member, even with little screen time in the episode, has already proven to be interesting and very brutal, as mentioned by Negan at the beginning of the episode.
Obviously, not everything is effectively new, with a narrative quite similar to TWD's cycle of finding a sadistic antagonist who controls a certain region and clashes with our protagonists, this time involving a classic kidnapping and revenge plot, which also resembles Old West stories. I don't have many issues with the basic premise, mainly because showrunner Eli Jorné's script is insightful in avoiding too many connections with the past series other than Negan and Maggie's feud, being able to focus on the unfolding of the mission without too much didacticism and explanations. The time jump also helps in this "disentanglement" of the miniseries.
However, some TWD quirks are embodied here in the form of monologues and cheesy dialogues. We already know that everyone suffers in this universe and that Maggie and Negan love their little fights. But one or two interactions between the two are promising, especially the boat scene, when Negan confronts Maggie for having killed several parents and children. It's so much more three-dimensional to bring Negan back to his roots: the disturbed embodiment of what this new post-apocalyptic society is. We can still see that annoying Negan with sad looks and remorseful faces, but we can also see that malevolent Negan, which is when Morgan excels, as in the great scene with the vehicle where the character makes his sarcastic jokes. Let's see where the script takes this relationship.
Another positive point of coming to a metropolitan area is the return of zombie herds, one of the few resources of the series that still brings some level of danger to the undead, who have become a joke over the years. I also hope they take advantage of urban settings like buildings, malls, and subways. The zombies are still not a major threat, but it's good to see the production trying to incorporate them into the story in new ways, like the "suicidal zombies" scene. At the moment, however, the horror remains superficial in Dead City, with some sequences being quite silly. The scenes of the characters fleeing through the streets of New York are weak, as well as the whole block against the marshal - the sequence of the guy being killed after waiting for the zombies to break down the door is unbelievably stupid.
But what is truly unbelievable is the surprisingly cool start of "The Walking Dead: Dead City." The lack of expectation may have contributed, but one can feel Eli Jorné's genuine direction in creating quality content, which brings out the best in TWD while trying to bring new concepts to a worn-out franchise. "Old Acquaintances" suffers from the problems and also from the common flaws of pilots, which are usually slower to establish the plot, but there is a lot of quality here. I hope the miniseries continues in this neo-western vibe and knows how to take full advantage of New York's metropolitan setting for horror.
The Walking Dead: Daryl Dixon: Coming Home (2023)
This episode approaches the relationship between characters, while concludes the mission of taking Laurent to the Nest and getting Daryl back home
After Daryl kills the walker, Daryl and Quinn, chained together, kill several enhanced walkers in the arena before Fallou kills the guerrier Genet ordered to shoot them. In the chaos that follows, the group escapes, with a bitten Quinn sacrificing himself to buy Daryl time, but he reanimates, forcing Laurent to put his biological father down with Daryl's encouragement. After going their separate ways from Fallou and Emile, Daryl's group resumes journeying towards Mont-Saint-Michel, but are attacked by Genet's men. Unable to kill a child, Codron shoots the other guerriers instead, promising to get revenge on Daryl later. Upon his return, Genet deduces Codron's betrayal and has him tortured for information. Daryl's group finally reaches the Nest where they settle in.
Daryl becomes conflicted between staying in France and returning to America. Union of Hope leader Losang arranges passage to Newfoundland for Daryl, who chooses to leave despite Isabelle's comparing his abandoning Laurent to Daryl's abandonment by his own father. At the Normandy American Cemetery and Memorial, Daryl visits the grave of his grandfather, William T. Dixon, who died on D-Day. On Omaha Beach, Daryl prepares to board a boat, but hesitates when he sees Laurent secretly followed him and has a herd of walkers closing in on him. Near Freeport, Maine, Carol searches for Daryl, finding his motorcycle. After Carol captures its hostile rider, he directs Carol to where he found it.
The episode begins with a mysterious scene, showing bodies of American soldiers killed during World War II. Initially, this scene seems to be disconnected from the rest of the episode, but when the end comes, everything makes sense and exposes the bond that Daryl already had with France, and with the mission we have been following during this season, this bond becomes even more intense.
The arena sequence with the protagonist's fight and the variants is definitely one of the best moments of this season, with exceptional direction. The moment when Daryl finishes off the variant using the French flag is visually beautiful, besides the soundtrack and slow motion that make the scene even better. The idea of bringing Quinn and tying the two characters to fight together against 4 variants shows that the series creator did not skimp on creativity. The whole sequence needs no comments because it is so well executed and choreographed.
Perhaps one of the few flaws I have to point out in this episode is the antagonists, who are practically sidelined. Genet, who had been a rising antagonist, here you simply forget that she is in the plot. The ease with which Daryl, Laurent, and Isabelle escape only exposes the weakness of the script in approaching the character, since she has a well-armed army that would never let them escape. Although this point is poorly executed, the episode manages to maintain its quality since its focus was on concluding the mission of taking Laurent to the Nest and getting Daryl back home.
This episode is perhaps the strongest in terms of approaching the relationship between the three main characters, portraying them as a family all the time. Firstly, the evolution of the boy as a character is clear, being willing to kill his father (even though he is a walker) to save his "mother." For someone who had never killed a walker, this scene is emotionally strong. Another scene that serves development is at the Nest, where Daryl is helping to bandage Isabelle, which visually rhymes with the first episode of the series when the protagonist arrives at the Convent. The approach of this entire episode is about bonds and family, and these small scenes further enhance what this journey was for Daryl.
The main focus of this episode is on family. The scene where Codron finally reaches Daryl to get his revenge and gives up when he sees the way the characters protect each other is quite symbolic. When Laurent points at him and says that God loves him, the character undergoes a key turning point and gives up on revenge, as it would lead nowhere. Again, the episode brings a narrative rhyme with what was set in the first episode about Laurent possessing something supernatural. Finally, we arrive at the long-awaited Nest, and what a perfect photograph in addition to satisfying moments. The place is visually beautiful and only highlights how impressively this series has been working on the technical aspects. Initially, I thought it would be just another generic community, but within the subsequent 5 minutes, I quickly changed my mind. The residents of the place are charismatic and give off a vibe of family and concern for each other.
Daryl's transformation and how he became attached to Laurent and Isabelle, which puts him in doubt about returning home, are clear. The final sequence ties in with the opening scene, showing that one of the dead soldiers was Daryl's grandfather. It was certainly one of the most emotional moments of The Walking Dead, Daryl visiting his grandfather's grave and getting emotional breaks the stereotype that the character is tough. This moment also serves to highlight the connections that the character has with France and to put him in conflict about returning to the United States. This sequence made Norman Reedus deliver a very strong performance that deeply moved me. To top it off, Laurent appears just as Daryl is leaving, which leads me to question whether that is real or just a hallucination. It would make a lot of sense for the character to be delirious, as if his conscience is telling him that he needs to stay to protect the family he has made. This does not mean abandoning his family in the United States, as Carol had said on the radio that everyone was okay, leading us to think that Daryl does not need to return urgently. As shown in the previous episode, Daryl had told Carol that he would return in a week, and this clearly did not happen, causing her to go after her friend alone. When Carol sees Daryl's bike being used, she realizes that something is wrong and finally gets clues about his whereabouts, putting her on a collision course with the same group that took Daryl to France.
It is possible to notice this presumption of the show's developers, going through the thematic mixture and the various historical representations they try to compress into the episodes, whether religious, medieval, or revolutionary. It's as if they were trying to do something different, but just throwing everything on the screen without a well-defined direction. After all, we end the debut year without understanding the motivations of the groups, what Laurent's relevance is in this war, and what debates are proposed by the subtext of the production. Carol's cliffhanger is a resource to make us curious about the duo's reunion, but many are totally uninterested in this arc in France, which, in addition to all these problems, maintains the franchise's trend in recent years of offering a product that underutilizes zombies and does not work suspense and horror with due respect. But the final balance of "The Walking Dead: Daryl Dixon" from AMC is reasonably positive, bringing a refreshment to the franchise. Daryl leaves this series in a completely different way than he entered, presenting more layers and confirming the reasons why he is the most popular of The Walking Dead.
The Walking Dead: Daryl Dixon: Deux Amours (2023)
Tying up the loose ends left in the last four episodes, the series brings a conclusion to the mystery and leaves a huge cliffhanger for the final episode
In Maine, Daryl helps to capture walkers in exchange for fuel he needs to get home. He briefly makes contact with Carol, who tells him someone has come back. After Juno murders a young man whom Daryl was mentoring, an altercation between the two causes them to be put on the Pouvoir ship; the two work together to escape, but Juno is torn apart by one of Pouvoir's test subjects who displays enhanced abilities similar to multiple variants. In the present, Isabelle struggles to adjust to being with Quinn again, even considering killing him with a knife, and receives a hidden message from Sylvie, Fallou, and Emile.
Isabelle agrees to join a Pouvoir celebration with Quinn, only to have a jealous Anna betray them. Daryl, Laurent and Azlan continue their journey to the Nest, but Azlan is killed during a fight with several walkers. Before dying, he reveals that the Nest is at Mont-Saint-Michel, but Laurent cuts a rope and lets their boat float off, wishing to go to America with Daryl instead. The two and Quinn are captured by guerriers and Genet coerces Laurent into making a show of support at an event she holds, where Genet pits Daryl in a gladiator fight against one of her enhanced walkers, unaware that Sylvie, Fallou and Emile have infiltrated the event.
Finally, with the answer of how Daryl ended up in France and everything he faced until crossing paths with the boat group, we have revelations and twists that change the series' landscape. This is why the specialized critics are right about the quality of this episode. The episode begins exactly where the last one left off, showing Daryl taking the boy to the "Nest." All the protagonist's concern for Laurent about the place he is going, questioning his safety, shows that the character already has bonds with the boy and possibly, at some point in the last episode, he must have hesitated to return home. The fatherhood relationship that was developed during these five episodes was very well built.
The highlight of the episode is definitely the editing, which kept alternating between present and past all the time without losing its pace. The color saturation chosen to portray the United States was spot-on, and these technical aspects remain at the highest level throughout. During these flashbacks, answers are finally given on how Daryl crossed the ocean. Shortly after leaving Commonwealth, the character finds himself in need of fuel to continue his mission, which leads him to accept a job in exchange for gasoline.
Faced with this need for supplies, the script manages to further enhance Daryl's survival skills. The easy way he captures walkers to take the group's attention and shows why he has survived all these years of the apocalypse. Even after 11 seasons, it is impressive how the character still presents room for growth and should continue to be so from now on as it is one of the characteristics that David Zabel has shown, the constant desire to evolve his characters. In the present scenes, Daryl's relationship with Laurent and his conversation about important people he mentions, like Judith, RJ, Carol, Connie, Ezekiel, shows that the boy managed to break the shell that Daryl has. When talking about the children, the episode is touching because it brings a direct dialogue from the series narrative to reality. We see Daryl talk about the importance of returning home, focusing on the children, which is very common in the real world in times of war. This verisimilitude makes the character's desire to reunite with his family even greater.
The episode also works with Isabelle's plot, which yes, is more constrained, but still serves to unravel some points of the story, which should be relevant to the conclusion of the season. After it became a little hazy at the end of the last episode what the character would do from then on, here things become clearer. Since Quinn has some relation to Genet's group, Isabelle tried to persuade him in a way so that he could help in Laurent's crossing. Again, it is important to emphasize how this series works with characteristic and very individual traits of each character.
Before going to France, Daryl, in the middle of his mission still in the United States, gets a radio to communicate with Carol, which already gives a preview of the possible appearance of the character in the final episode. Dialogue goes back and forth, and Carol says that someone has returned, but the call fails, and Daryl cannot hear who. Certainly, the writers want to sharpen and lead the audience to think that it is Rick and Michonne, but it is very unlikely to be that due to the lack of excitement in which it was spoken. With the end of Fear the Walking Dead approaching, I believe it is more possible to be Morgan. Due to the confusion caused by the death of the young man who wanted to help in the mission, Daryl is taken on the boat to serve as food for the walkers. With a brilliant escape plan, we see the much-talked-about confusion on the ship caused by the American, which had been mentioned since the first episode. With a set of tense scenes and the most anticipated moment of this series, the protagonist finds himself facing the most dangerous variant we have seen so far in the entire universe, forcing the character to flee and leave the fight aside. At this moment, the camera work is very well directed to expose the dangers of the variant, making an allusion past and present of two exactly identical situations for the protagonist: having to face a dangerous walker to survive.
What holds the episode (and justifies my score not being a gigantic zero) is the concept of the variant zombie, which brings some kind of impulse to the story and because I always support ideas to elevate the undead that have gradually been discarded. I also like the relatively macabre atmosphere of Genet's lair (and the ship as well), with captured zombies, ideologically blind soldiers, and horror experiments. But it's little, very little for a penultimate episode of the season. Tying up the loose ends left in the last four episodes, the series brings a conclusion to the mystery and leaves a huge cliffhanger for the final episode, which promises to set the course that will likely be followed in the second season.
The Walking Dead: Daryl Dixon: La Dame de Fer (2023)
It's unbelievable that at this point, the writers have created such an unnecessary subplot that leads nowhere
Genet begins a search for Laurent, seeking to eliminate him as he is a symbol of hope to people. As part of this, Genet makes a deal with Quinn who seeks Laurent in order to get Isabelle back. After escaping from a flooded building, and having a dream that a praying Laurent is ignored by a mob of walkers, Daryl encounters Antoine who is killed by guerriers, but he helps the dying man to free his pigeons. Reuniting with Isabelle, Daryl tracks Laurent to the ruins of the Eiffel Tower where the boy nearly falls victim to a herd. During the rescue, Laurent is kidnapped by Quinn's men and taken to Demimonde. With the help of a captive, whom he tortures and later abandons to walkers, Daryl sneaks into the nightclub and rescues Laurent while Fallou and his people create a distraction. Daryl overpowers Quinn while Anna, disgruntled by Quinn's obsession with Isabelle, lets them go. Having fallen in love with Emile, Sylvie decides to stay in Paris with him while Isabelle decides to stay in order to get Quinn to help secure Daryl and Laurent passage out as Genet locks the city down. Daryl and Laurent leave Paris on a boat heading to the Nest, the Union's main base.
The first three episodes presented us with a France devastated by the apocalypse, and the hope that everything can change. The next three episodes (including this one) are moving towards concluding the plot and leaving doors open for the next season. Here, the series' narrative has completely stagnated, and nothing relevant is presented to us, except for a few uninteresting action sequences. The script's standstill is evident, as at the end of the previous episode Daryl falls, giving the idea that we would have a minimally interesting episode start, which in fact does not happen. This shows that the episode moves in a lost and anticlimactic way throughout, with completely disposable scenes without any dramatic effect.
The initial sequence of the episode was somewhat intriguing because, even though it was a hallucination, seeing the boy in a risky situation may have made Daryl more protective of the child. In addition, all this belief around Laurent about him being the hope is being very well developed in various aspects, both in dialogues, actions, flashbacks, and now hallucinations. Here we also have the focus of Genet's group discovering that there really is a boy that people believe is the hope of everything, and she seems to mock because with the existence of this boy, the people of the Union of Hope would be blinded and would not follow what she wants to preach. As shown in one of the previous trailers, it seems that the series will still show this authoritarian and ultranationalist side of the character, drawing parallels with other real figures who are seen as villains of humanity.
Finally, Laurent manages to reach the Eiffel Tower, a symbolic place for him, as it is where his mother's photo is located. The scene suggests that those walkers have been trapped there for a long time, and when Laurent arrives and they manage to break down the barrier, it seemed a bit too forced. But anyway, Daryl and Isabelle arrive to save the boy, until he is kidnapped, and the series creates a new subplot. The protagonists manage to capture a member of the group that took Laurent and try to extract some information. Daryl's coldness in stabbing the enemy's abdomen with a sharp object is agonizing to watch, but it is satisfying from the perspective of the character's evolution in this spin-off, which in this particular scene reminded me of Negan, being sarcastic in a brutal moment.
It's unbelievable that at this point, the writers have created such an unnecessary subplot that leads nowhere. The boy is taken to Quinn's nightclub, and everything indicates that he only kidnaps the boy to get to Isabelle. Daryl manages to invade the nightclub, and the two characters fight, with the protagonist winning and Quinn being knocked unconscious. It seems that there is no more room for the character in the plot, so I believe that in the final two episodes, the series will not focus on him again. The characters meet near a river, and Isabelle decides to stay and send Daryl and Laurent by boat. This point was a bit confusing for many people, but since Genet has surrounded the entire city, Isabelle believes that if the group separates, it becomes more difficult to be caught, and Daryl to protect Laurent seems like the best option. However, with only the two of them alone, they become more vulnerable to Genet and Codron's attacks.
Speaking of the boy, it is still difficult to delineate what exactly the series wants to represent with his character. Obviously, the messianic traits exist, but it is noticeable that both the direction and the script cannot bring a necessarily believable or curious approach to the theme. There is nothing truly symbolic, except perhaps for that scene where Daryl dreams of the boy praying and warding off zombies (which leads nowhere, by the way), nor is there anything critical or minimally provocative/reflective about the insinuations of religion and faith in most of the dialogues. Is this boy supposed to be a symbol of hope? Why exactly? And where is the dramatic substance or any kind of thematic, narrative, or symbolic representation around it? It seems that the story wants us to buy into this idea with a few lines of dialogue about innocence and childlike purity as justification.
Even worse than that is the absolute laziness in several scenes of the episode. Apparently, Daryl was bitten in the water and even appears limping afterward, but this is left hanging... in a mix of careless mystery with random insinuation. We also have the terribly directed sequence of Laurent being kidnapped - what was that shot of Daryl letting go of the boy's car? Or the completely emotionless farewell of Isabelle and that other former nun who is overflowing with libido. The season has gradually become a collage of arbitrary moments, something that makes me look less favorably at the concepts I praised in the pilot, like the medieval side or the religious aspects that haven't amounted to anything so far. Notice, for example, the torture scene and the almost trial-like indication of Isabelle, opening up space for a discussion of morality and violence that the franchise has already addressed, but that simply dissipates...
"La Dame de Fer" is a slow and weak episode that leads nowhere. The series, which came from an excellent sequence in the last three episodes, completely loses its way here. With the resumption of the main mission at the end of this episode and two episodes remaining, the series has everything to deliver great moments and make us forget about this fourth episode. The series started with some minimally curious and unusual ideas for the franchise, but as the episodes have progressed, it is noticeable that there is no cohesion or deepening in the concepts and themes presented or insinuated by the narrative. It's all up in the air, maintaining the same dramatic problems of the franchise (bad dialogues, melodrama) and also those of direction (lack of tension, zero visual creativity for staging or setting, no scope), in addition to this growing sense of randomness that I have felt in the last episodes.
The Walking Dead: Daryl Dixon: Paris Sera Toujours Paris (2023)
If in the first episodes we had those medieval inspirations, now everything here has a foot in the contemporary, especially in the nightclub block
After a brief stop in Angers, including a bizarre zombie orchestra performing Boléro, Daryl's group finally reaches Paris. There, after a poignant encounter with a little girl - now a zombie - who used to be Isabelle's neighbor, they meet a community led by a man named Fallou. With their help, Daryl seeks out information on a ship that can return him to America, which leads the group to the Demimonde nightclub and a reunion with Isabelle's ex-boyfriend Quinn. Quinn reveals that he is Laurent's father and demands that Isabelle and Laurent stay with him in exchange for his help. Daryl rejects the deal and prepares to set out on his own after an argument with Isabelle, leading to Laurent running away after overhearing them. Codron meets with Genet, who agrees to let him lead the search for Daryl while her people continue experimenting with walkers. Pouvoir attacks Fallou's community and Isabelle searches for Laurent, while Daryl falls through a roof following a brutal fight with Codron.
Continuing Daryl's mission to return home, he and his companions need to cross Paris. As soon as they arrive, we meet a group that has developed in the outskirts of the city of light. I'm really enjoying the way the series is portraying Paris, which since the last episode has been approached as a character apart from the series, showing that the city functions - obviously differently - even after the end of the world. The scale and proportion that the technical aspects are taking in this spin-off are exceptional. Simply cinematic. As for the new group shown here, it's what I say every episode: another generic community that doesn't add to the story, except for making Laurent help a grieving woman, which further enhances the belief that the boy is the new Messiah. The leader of the community even shows to be an interesting character, leading the group to a place where Daryl can get the boat to return to the United States. This character was a great addition to the series' cast, and I genuinely hope he returns in future episodes.
Upon arriving at this new location, we discover that Isabelle's ex-husband, Quinn, is Laurent's father, which means he had a relationship with both sisters. I didn't expect anything from this character to reappear (since he was shown as a supporting character in the previous episode) and even less that he would be the boy's father. On the other hand, it seems that this hook left will play a relevant role in the development of the relationship between Isabelle and Laurent, as she now has one more thing to hide from the boy. Hopefully, this will have an impact on the plot and not just be an irrelevant revelation that leads nowhere.
Another scene that caught my attention here in this episode was the moment Isabelle returns to her old home with Daryl. The dialogue and similarities between the two characters create a chemistry between them in a surprisingly quick way, but enough to make us attach to them. With this character's growth and The Walking Dead's history of killing off characters just as they're growing, unfortunately, it is possible that her death will occur at the end of the season.
The scene of the walkers falling from the building and resisting shows the danger of the variants, which have been the great attraction of this series. However, what stands out most in this sequence is the walker child Aimeé, who was Isabelle's neighbor. Before the world fell - as shown in the previous episode - Isabelle didn't want to talk about what was happening to not scare the girl. When we see Isabelle leaving the building to leave Paris, she is looking at the little girl, and her concern about what could happen to the girl is clear - and it happens. This even shows a different approach since we rarely see walker children in all the productions of the universe. Here we see again the issue of experiments with the variants, now with an agile and strong walker, who can easily break free from chains. It is still uncertain whether these variants will actually become troublesome at some point or if they will remain only in these isolated samples, but it is really exciting to see these new walkers, and this ends up giving a breath to the franchise.
But overall, the feeling is of an arbitrary story. If in the first episodes we had those medieval inspirations, now everything here has a foot in the contemporary, especially in the nightclub block. The series' language is random, even in the way the characters' journey is not well delineated, because at one moment they are going somewhere, at another they change their minds, one moment Daryl wants a radio, the next he wants to help Isabelle get a photo of her sister... I understand the appreciation for a more intimate chapter, but better dialogues and a dramaturgy with weight are lacking for the conversations between Daryl and Isabelle to gain emotion.
Furthermore, I am having difficulty understanding the characters' arcs. Daryl seems like a visitor on the adventure, doing what they ask of him and serving as a leader whenever danger comes, but we haven't had any development that advances or makes us reflect on the character's traumas and past events, or any element that shows any kind of evolution. It's the same old Daryl. As for Isabelle, she is a compilation of generic elements from the franchise, and Laurent, well, so far this chosen prophet metaphor doesn't make much sense, and these suggestions that he is special are insufficient to create any dramatic interest in the story.