Monday , June 27 2022

The finale of the Walking Dead midseason was featured on stage



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Caution: Spoilers for zombie season 9, episode 8 below.

This season of zombie had its own meta-storyline, supplemented with ups and downs and stunning cliffhangers. After several rating declines, it was announced earlier this year that showrunner Scott Gimple left the show with Angela Kang set to take over for Season 9. The idea was that Kang's new vision for the show could revitalize zombie, starting with a reimagined title sequence.

At first, it seemed to work. The departure of Andrew Lincoln, starring star Rick Grimes, has kept the number of views on the waterline. At one point, it seemed that the show was increasing the expectations of the audience by sending Rick earlier than expected. It was a trick, however, that the departure itself, rather than the murder of Rick, zombie just put it on the ice, waiting for a movie trilogy that will land AMC at some point in the future. Rick Grimes's unimportance seemed to be the last nail in the coffin, the moment the audience realized that no matter how much zombie to turn your gaming around, it simply is not in cards.

Then, something funny happened. In the last episodes, a new vision for zombie began to appear – one interested in moments of small characters and new conflicts that felt great zombie of previous seasons before the show has been weighed with its comics cascades. The Midseason Finals, "Evolution," have completed this transition. And while we were both frustrated zombie sometimes we are now feeling what a whole new situation is: enlivened by the new approach to the show, delighted by the place where it is, and eager to find out how the characters are there. Of course, we talked about it.


Photo of Gene Page / AMC

How did they do it?

Bryan: I will be completely honest here and say I did not think zombie he could get him out. I have obviously had problems with the show for some time and I stopped watching when Glenn died. But I kept myself in the bigger films of the plot of the show and finally came back. Now, I could not be more pleased with how excited I am to the show again.

How did she do it? zombie pull that? There are a lot of things you need to look at, but for me it's a philosophical approach. Over the past few episodes, the show has become more interested in character-based stories and the emotional consequences of these characters. In "Evolution," some big moments with Whisperers are subtle, but for me the most obvious example of the entire episode is Henry's story.

In "Evolution," the audience learns that Henry decided to go to Hilltop not to become a blacksmith, but because he still has a major passion for Enid. When he finds out that he already has a friend, he does what any teenager does: he self-destroys and parties with a bunch of other teenagers. They drink, act inappropriately, and the other teenagers torture a walker – whom Henry vigorously rejects.

This return is a good example of Henry's moral compass, but that zombie actually had time to explore what would grow as a teenager would be that in that community is what really hit me. These children know that they are in a dangerous zombie world, but they have enough stability for the traditional adolescent tendencies to maintain themselves. After literally years of the debate about various moral reasons, it was refreshing for the show to look at something beyond The Big Bad Guy Negan and The Big Good Guy Rick. Sometimes Carl was used to exploring some of these ideas, and in fact Carl's story about the comic book is grafted on Henry here. But this kind of relative situation was extremely devoid of zombie Lately. If this is the direction the series is heading now, write me down.


Photo of Gene Page / AMC

nick: Entering Season 9, I was concerned that Rick's impending departure will dominate all 16 episodes and will obscure any of the promised rebounds that Kang was committed to pulling out. And as the season started strong, realizing the eventual stunt at the game, I did not have the hope that the show would improve much post-Rick. The emotional blow in "Maybe it's good again?" And "Oh no, it's back to its old crap" was tiring. And the show that had to go by the departure of two major characters (Lauren Cohan's Maggie left this season) made it feel like the writing was on the wall.

But then, the multiple time jumps did something miraculous: with Rick gone and the weight raised by the writers of the show, zombie has slowly become the show promised by Kang. I think that reorienting the characters – the way they face new tragedy and experiences and what links them – made it feel revitalized and less like the adaptation of the comic book that has become. "Evolution" is the best of the last three episodes because it highlights all these changes and really drives home how efficiently Kang and the writing team used Rick's departure and the six-year jump that were both narrative movements we were both extreme of skeptics at first.

I was particularly struck by a scene with Gabriel and Negan, in which the reformed pastor tries to help captive criminal discussion through his problems and why he chose to become the man he made in post-apocalypse. Over the last seasons, these types of vignettes were usually fun, creative detour – zombie loves good musical fitting – designed especially to fill time and add a much needed color. But they rarely said anything profound or contributed to the global plot.

In this scene, however, when Gabriel accompanied Negan to pull his outer face again, I was shocked at how smart it was. Negan, realizing how tiring he is, pushes Gabriel to open for Rosita's wounds and the imminent threat they seem to face. It was as if the writers had recognized how badly they manipulated the character of Negan, forcing the man to give up his tired sketch. Later, when Negan discovers that the cell door is left open, he comes out with a sinister smile on his face. But the audience now knows not to expect him to become the same old character. Gabriel's talk has smartly created Negan as a potential ally in the upcoming fight, though a wild card with his own intentions. This type of narrative setting makes even the smallest scenes in the post-Rick world so heavy.


Photo of Gene Page / AMC

What were the high points?

Bryan: Let's talk about that escape of Negan for a moment, because it's actually one of my favorite things in the season. Negan has always been a bad comic type, just capable of extremes, that I have continued to worry about what happened or not happened to him. But the moment she discovers that the cell door is unlocked defines more than one monologue worth a year.

The door was probably just unlocked recently, but the show does not explicitly state this. Instead, what we have is Negan realizing he might have come back it in a captivity for an unknown period, because he never bothered to check the door. She turns back to the episode "It's Not Here" when Morgan had a similar revelation. In this case, it was part of Morgan's evolution from the crime car to the contemplative man of peace. And while I doubt it is where they are zombie will go with Negan, I like the way that so quiet moment undermines his own sense of bravado. Yes, he is unleashed and gives a known smile when he leaves, but I still feel it is one of the only moments when Negan had a real moment of self-realization.

I must also highlight the shortest story between Jesus and Aaron. It is an example of a manuscript of the way Kang Walking Dead doing things in a much more satisfactory way than in previous seasons.

In comic books, Jesus and Aaron are a couple. In the show, however, I learned an episode behind that they established some kind of private backchannel communication between the two communities. It is not clear whether they are just friends or if there is a romantic part of their relationship – it could even play equally well – but it does not end until it does not matter because, late in "Evolution", Jesus is stabbed by one of those who want to tell him.

So what we have is a comic story that is partially adapted to the show in a way that allows comic viewers to think they know where things are going, just to take out the carpet, giving Jesus' death more impact. And for all the others watching the show, it simply plays as a tragic shortcut.

No games are played. I'm not cliffhangers. Undoubtedly with marketing materials. The show simply allows relationships, characters and events to speak for themselves. It's brutally effective and shows a level of restraint that I have not seen since the show in a while. I will admit that it is a bit weird to include this as a high point, considering how legitimately upset I was through the death of Jesus, but that is also the reason why I include it. zombie instructed the public not to take care of anything and take nothing seriously. And yet, here, almost like a graceful note, the show offers an emotional blow that can not be denied, as if it wants to tell us what it can do. I'm watching TV shows to feel something, and death has done that.


Photo of Gene Page / AMC

nick: This is a good opportunity to talk about what I think is one of the best improvements this season: manipulating Robert Kirkman's comics, this series is inappropriately adapted. zombie has always embarked on his own course, grasping what he needed the source material while introducing new characters like Daryl and playing a smart game of mixing and matching story stories and arcade plotting to do all the work. (Rick never lost his hand in the show, but the poor Aaron took that burden in his absence.) But with Glenn's false scene of death and eventual introduction of Negan, it seemed like the show was becoming too Source Material. AMC hung up comic moments from viewers as tantalizing villains and walked with the audience's expectations in ways that felt cheap or unmerited.

Season 9 feels different. Not only did I say good-bye to Rick, Carl, and Maggie, all of whom are still major comic players. Moreover, the show now uses the source material in a more uninterrupted way, just like the show manipulated large arcades of comic strips in Seasons 3, 4, and 5. Why is Henry paying so much attention? Carl starts playing comic. What about getting Negan out of the prison cell? It's an important moment in his story bow. Bastards hiding like pedestrians? That's the next big comic book deal.

I agree that manipulation of Whisperers, those pedestrians who seem to have mystical control over large flocks of zombies, is very well done. It is a clear departure from the way the former showrunner Scott Gimple played the Saviors bow. It feels more organic, better written and less gimmicky. There were no episodes of time-filling, dedicated to the public, believing the zombies are evolving. This becomes a suggestion from a frightened Eugene in "Evolution", the group grasping the explanation of how they are followed by seemingly intelligent pedestrians. Instead, we get a strong payment in the form of the surprising murder of Jesus and the immediate discovery of the Whisperers as a profound, cultic threat that the characters are now facing.


Photo of Gene Page / AMC

What were the low points?

Bryan: It is so satisfying that they made Eugene become old, fearful of panic and fear, of the person floating in the speakers' theory. It's almost as if the show is going to play on itself, because it would have been too careful about the previous comics as a way to distance tactics.

That being said, it was not a cleaning of the reimagined episodes. It feels that the 9th season only hit the pace in these last episodes, and there were many problems along the way. The biggest weak point for me is Rick Grimes Death Fake-Out ™. It was so full of joy, so disrespectful to the audience, so inexpensively inexpensive that I still can not believe the show fell on that path. And it only diminished my interest in Rick Grimes' new movies. It is sad to say, but the way the entire script was executed turned Rick into the symbol of all evil trends, while new characters and new conflicts are the way to go. And you? What comes out the most, as you look back at everything?

nick: I'm still on the fence about manipulating Rick. I came to accept that it felt too much like a cheap trick to guarantee all the time, the effort and the marketing that made us believe it would indeed die. At first, I recognized it as a well executed trick, which admits that, at least in a show like this, you can cast a audience with a bone (some fans seem to want Rick to die) and get away quickly and lose with expectations, as long as you reward the audience later. If the trilogy of Rick's films does it, or if he has returned to the show in a certain way on the line, it remains to be seen. And how much I'd like to see Rick make a cameo next season or reveal to other characters that he's still alive, maybe it's better for the show to go on.

Honestly, what takes the biggest problem this season is manipulating Lauren Cohan's departure. Not only does the show make the most singular person responsible for Rick's sacrifice at the bridge in a controversial manner, but they also get it out of the off-screen using a short amount of time to easily glance events which led to Maggie's departure. He feels unfair. Of course, I do not know what the behind-the-scenes operations at AMC are, which could have resulted in Cohan not filming more than five episodes this season. However, I hope we hope we will get at least some clarity about that situation and that Maggie will not disappear after the old battle between the Hilltop and Michonne group members is exhausted as a plotting device.

What do you want to see next?

nick: The biggest hope for the second half of season 9 is that it does not waste its time and attracts the next big conflict. I'm really surprised to find a Whisperers so fast this season and I really enjoy how much action and scroll the writer can get out of the eight remaining episodes. For a long time I have been a huge critic zombieEpisodes of 16 episodes. They are simply too long and too full with stuffing to not drag down the quality of the show.

In the saga saga, the 32-episode accent on Negan was unpleasant, and knowing the length of the season is historically a product of the massive ratings of the show, made it even less likely because those ratings collapsed. So, we hope the show will keep up with the newly established pitch in the last three episodes. I would also like to see an introduction of the Whisperers as a formal antagonist, rather than later, especially since their comic leader is one of the best offenders of the series.

On the other hand, and I know that this fits me as contradictory, I'd like to see some kind of exploration of what happened in the six years since the bridge exploded when Rick "died" and where we are now. AMC has suggested in media and forum responses that viewers will learn about Daryl and Michonne's "X" scars, and I think it's an invaluable and creative imperative of the narrative that the show needs to explore to help all of these characters conflicts reach a significant resolution if this will happen before the communities unite to fight Whisperers. How Maggie will play in those flashbacks will be exciting.

And last but not least, I want to see more Negan. His character was ready to be an anti-hero. The moment he stops being a boogeyman in the prison cell and begins to become a vital player in the main ensemble could be extremely satisfying for his character and for the audience who suffered his superficial antiquity as a villain.


Photo of Gene Page / AMC

Bryan: I'm not familiar with comics, so I do not have a specific arcade story list. I look forward to learning more about the creative approach I'm renewing Walking Dead takes. How does a big bow play like Whisperers when the show performs these stories with such efficiency? What new emotional territory can explore these characters that have not been allowed before? What does Negan look like in this context and how does his character change and evolve? (I can not believe I just wrote this, but Yes… I'm also delighted with Negan.)

And in these last episodes, a lot of hooks have been abandoned that are eager to find out more about: Daryl and Michonne's scars, what happened to these communities to make them so resilient to collaboration, and how the show uses the threat of wizards unify.

I'm also delighted to see what happens to Henry and the new romantic interest. zombie he used to be really interested in the extraordinary impact of the ordinary machine of life, and to me, it was the most convincing aspect of the show. It has not been concentrated in that direction for some time, but if it returns to those basic elements, there is a chance to overcome not only the evil state of this series but also the same old feeling – the same old that now surrounds zombies in general. The post-apocalypse as story story came and went and came again, but the stories with themes and related characters are always fresh and appealing. Maybe this new thing Walking Dead can find them.

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