The Walking Dead Season 4 Episode 1 Review

“Previously on AMC’s Breaki---” Hold on a minute, that brief sound clip will never again be heard on live television. AMC has said goodbye to the Vince Gilligan masterpiece but still retains the likes of Mad Men and The Walking Dead. Whereas Mad Men has a more niche audience, The Walking Dead grows ever-popular, with a group of geeks in adoration of their favourite characters (we’re looking at you, Daryl). With that in mind, The Walking Dead’s fourth season started with a 16.11 million viewership, the highest it’s ever had. It will never see the same hype as something like Breaking Bad, though its continual effort to be seen than something more than just “that zombie TV show” is very commendable. Season 4 begins in a far less exciting manner than the third season’s opening, yet is still able to have us completely transfixed.  

Major spoilers follow

AMC’s catalogue of soundtracks eclipses most other networks. Thomas Golubic, “30 Days Without an Accident’s” music supervision begins the episode, with a little ditty: “Precious Moments” by The Stanley Brothers. The irony is palpable – as Rick takes out the headphone buds, the sound shifts to that of growling, scratching Walkers – that memories in the Walking Dead’s world are mostly cutting as reality becomes filled with the undead. Golubic had also worked on Breaking Bad and Six Feet Under (to name just two), a great crew member, able to make a scene work on music worth alone. It sets up the workaday nature of the new colony, with that eerie quality that no matter how cheery you can try to be, death still surrounds everything.

Apart from the brief musical epilogue, season 4 starts with a harrowing image of an eyeless zombie “watching” Rick. Bleeding eyes and absent pupils, it sends a jolt through you; the work of the show’s master make-up team. Foreboding and distressing for relatively unknown reasons (as the show’s audience has grown used to the macabre), it is a moment than seems very definitive – an omen of what to come.

So in the six/seven months since we left off apparently a fair few things have happened. These mostly relate to relationships forming and duties assigned. Tyreese is with a beautiful woman named Karen, Beth is with a muscular newcomer called Zack, and Carol and Daryl may or may not be a couple. In addition, Everybody Hates Chris’ Vincent Martella shows up as Patrick, who will become the final moment’s most integral part. Lastly, established characters get given some development, such as Bob (The Wire’s Lawrence Gilliard Jr.), Michonne (returning from unsucessfully hunting “him” – the Governor), and Daryl (as much of a celebrity within the show as he is outside of it).

In terms of hunting, there are no suspecting villains ready to find and kill (though you can bet the Governor will return) so it’s only food needing the group’s time and effort. Hershel and Rick head out into the forest for game and vegetation whilst Daryl, Tyreese, Zack, Bob, Glen and Michonne go looting a supermarket. As Hershel leaves Rick, our protagonist stumbles on a starving, filthy survivor out in the woods. Greyed and skinny, she reeks of desperation and pity. Rick, helpful as ever, offers her food and a chance to bring her back to the prison.

Rick’s stint with the stinky Irish woman is a slightly confusing part of the episode – Clara takes him to her camp (for an interview situation, where Rick will determine whether Clara and her husband are safe for his sanctuary) where he finds her talking to a head under a blanket. Not easily distinguishable under that cloth, the decapitated husband is a mere mystery until a brief shot at the end of the scene. Her reasoning and emotions are somewhat baffling – her will to survive until meeting Rick and then offing herself. Rick stands there upset and perplexed by her motivations, finally asking her the interview questions that have only slight bearing on the poignancy of the programme. Her story would have been quite interesting to have learnt about – an exile of her homeland, carrying the head of her husband around, surviving on barely anything – but she’s dropped after such little screen time. Fans of the show should know this to be realistic and in-keeping with Kirkman’s universe, but on occasions there are missteps – Clara being one of them. 

Meanwhile, Daryl and company head to the store. Starting off fairly lacklustre, the camera pans up from the door they entered in to the roof – packed with zombies and a crashed helicopter.  It’s nothing jaw-dropping, nor is it when Bob makes a ruckus toppling a shelf full of alcohol (a great piece of storytelling where we realise Bob’s an alcoholic, faced with a haul of free wine). However, the damp, sunken tarp, holding the weight of 20 or so bodies and a helicopter means the undead fall through into the shop. Bob’s liquid temptresses become a danger not only to himself but those around him – an implicit part of the episode’s drama and action.

As the hoard drop from the ceilings the scene suddenly goes from tedious to tense. The effects and stunt work usually have their shining moment at some point in an episode and this is it. Just before the break, one zombie falls to the camera (a skewed POV shot of Bob’s), growling as he heads into focus. Put simply: it looks fucking cool.

Effects work are similarly superb, with purely gross moments of gore. Skin ripping away, heads being pealed apart and explosions of impact on the decrepit bodies are each scarily real. It adds to the electricity of the moment, where everything seems too messy.   

Daryl and Glen – two key players in the cast – have their moments of peril, worrying for a show that is known for killing off anybody. Fortunately they survive, something that cannot be said for Zack. As the helicopter looms over the crumbling roof, there is no time to save him and the only saving grace from it all is the helicopter would instantly smush him. 

“30 Days Without an Accident” gets its name from Beth’s reaction to Zack’s death. Not “crying anymore” – changing her X amount of “days without an accident” sign back to zero. Her maturity in accepting his death follows the tone of the developing show – now news such as Maggie not being pregnant, Tyreese fearful of walkers in most situations and Rick’s constant fear of losing people is dealt with more philosophically.

The Walking Dead can be the best thing on TV, and merely average other times. Season four shows plenty of promise, without being a game-changer. It’s the final shot – the cliff-hanger – that means business. Patrick, coughing and sweaty, stumbles to the bathroom where upon he drops dead. Closing his bleeding eyes (like that of the eyeless zombie outside), he lies there deceased. Until, of course, those eyelids open once again, revealing the smoky glaze of his lifeless pupils. He’s a walker, inside the sanctuary, probably set to cause some trouble. Episode 2, we’re waiting...

Also posted on Flickering Myth

The Walking Dead Season 3 Episode 16 (Finale) Review

Season 2 of The Walking Dead was saved by its finale, and the expectations for the third season are expectedly high.

Major spoilers follow

We know the anger swelling up inside the Governor and our first shot of “Welcome to the Tombs” is his one good eye, looking squarely at us. We are taking on the POV perspective of Milton, being beaten furiously by his old friend. There’s nothing but rage in the one good eye, with no indication of remorse for throwing a round of punches at his sidekick. Milton asks whether he killed Andrea and we cut to Governor tossing the injured scientist at Andrea’s feet. The two are now together in this, and about to get even closer.

David Morrisey in this opening is superb, with a lack of guilt and a growl so intimidating it sets up the end episode perfectly. He orders Milton to kill Andrea but the soft, innocent man can do no such thing and tries to attack the Governor. It’s a battle of strength and Milton understandably overpowered by the Governor, stabbed and left to die. “Now you’re gonna die and you’re gonna turn; and you’re gonna tear the flesh from her bones...In this life now, you kill or you die. Or you die and you kill” We are all waiting on the war but this side-plot is certainly one of the most interesting dilemmas in the series so far – much like Glenn being tied up with a walker in the room, Andrea has to wait to death to come her way. A great prologue, with definite pressure mounting.

There’s a fair bit of montage editing as the prison group get ready, and a soft music playing over as each discuss the possible outcome. As Rick and Michonne have a tender moment discussing loyalty and togetherness, we quickly cut to the Governor, barking to his soldiers about the death and destruction the others caused. It’s another biting contrast between each side – the pensive and the petulant.

Whilst the Governor and his crew rush in, guns blazing, Rick et al are seemingly absent. We then see our heroes emerge from cover, firing precisely as they can at the villains of the show. The action in episode 10 was the best I have seen in recent television, and it would be extremely difficult to top it. Episode 16 is unable to do so, but high-octane explosions and some all-too-real bullet fractures (one zombie’s head coming clean-off is a pause and rewind type of moment) still advertise the show’s capabilities with warfare scenes.

As thrilling as the prison raid is, it’s the close-quarter tension of Andrea and a dying Milton that makes this episode memorable. Drama builds with every one of Milton’s fading breaths. He explains how he left a tool by her foot and if she can reach it she can cut herself free and “stab me in the head”. A simple yet nail-biting sequence of Andrea trying to pick the tool up with her feet achieves such dread because of the brilliance of direction and editing (the drop of the tool to shot of Milton rasping).

As the prison and Woodbury groups fire on one another, it’s the surprise attack from our protagonists that earns a victory. The Governor and his troop fall back, leaving some to dash off into the woods. Hershel and Carl await anyone and one lost soul from Woodbury stumbles into their company. Carl holds him up with his silenced pistol, warning him to drop his weapon. As the shotgun is lowered, Carl shoots. Carl’s later part in the episode is the figure of ethical debate, though I would agree with his decision, especially as the shotgun barrel was not facing the floor as it was being lowered. Carl talks about all the people who were let go or ignored and later came back to wreak havoc and death – there’s definite reason in his thinking and he’s as convincing and confident as his old man.

Other ethical issues include the Governor going ape-shit on his team. One soldier proposing defeat is shot dead, and then more follow; the Governor eradicates the lot (leaving only a trio, and a woman who escapes lying under another dead man’s body). Said woman is found by Daryl, Rick and Michonne and becomes a great bargaining chip to inform the Woodburians (?) of the Governor’s maniacal nature. As she’s been one in Tyreese’s band, our team is able to get into Woodbury with her help and Tyreese and Sasha’s past relations.

Inside they find Andrea, dying after a skirmish with the undead Milton. It’s a sad but strangely bland scene that does not garner that much emotion. Andrea is a loss, but not a severe one, after becoming too close to the Governor and too distant from the prison group.

We end with a busload of the Woodbury folk being brought to the prison. The “Give me your tired, your poor, Your huddled masses yearning to breathe free” comparison is there, and it’s a patriotic moment of the show; these are American heroes – the survivors, the leaders. As Rick looks up for the ghost of Lori he sees nothing but the shining sun – a nod to his new health and happiness. Still, the Governor is at large somewhere in the area and it’s not all that ends well.

We still have conflict unresolved and whilst I was immediately disappointed in the lack of resolution, knowing Season 3 already has a backbone is comforting and exciting. The wait will be long but Season 3 has been tremendous, and leaves Season 4 with an eminence to reach and exceed.

By Piers McCarthy. Also posted on Flickering Myth

The Walking Dead Season 3 Episode 15 Review

It’s the penultimate episode of The Walking Dead’s third season so expect – and be excited by – shit going down.

Major spoilers ahead

As Andrea has been cruelly locked away, the person the Governor still pines after for torturing is Michonne. Having negotiated with Rick, plans for peace could be achieved with Michonne being handed over. This is episode 15’s main story arc and the device creating tension and unrest amongst the group.

At the centre of “This Sorrowful Life” are Rick, Daryl, Merle and Michonne. The latter being the MacGuffin of major events and the victim of a divide of ethics between Merle and Rick. One discussion between Merle and Rick tells us more about the Southern sadist, as he’s welcomed to the “inner circle”. Merle is becoming an interesting sort and his overall persona is still unclear; is he a villain or a decent man? The first half of the episode shows the former, more regular, side to him as he kidnaps Michonne himself. He believes Rick will quit on the idea of handing her over and decides to take it upon himself.

Merle then becomes the main focus of the episode – with each of his closest associates talking about him, or taking action against or alongside of him. First to the floor is Glenn who stills remains vehemently against him, advertising the notion of his mean nature to Daryl. Daryl, then taking on board the facts, talks to his beloved brother – the two contrasting personalities of blood relation has been one of the finer elements of The Walking Dead’s character relations. “I just want my brother back” is how Daryl articulates his opinion to Merle, a statement that will become truly poignant by the end. The emotion that develops between each the episode’s intrinsic characters is sublimely executed through the writing and acting, with Rick and Daryl eating up most of the scenes.

Speaking of eating, episode 15 contains something we've not seen in a while - the disembowelment and consumption of a live character. No one important ends their run in the programme and it's only the Governor's minions who suffer the terrible fate. It comes after Merle and Michonne travelling out to Woodbury for the abovementioned handing over of the female warrior. During a stopover to obtain a new car the vehicle's alarm sounds and brings forth a sweep of walkers. Michonne, tied up and rather defenceless, kills one with the heel of her boot, and shoves another away until Merle (unaware of the hoard with the alarm sounding whilst inside the car) almost gets bit and gets the both of them out of there. As Michonne and Merle chat on the drive away she imparts some wisdom about Merle’s opportunity to redeem himself. As the character has slowly started to signs of this, he lets Michonne go and moves ahead by himself.



With Daryl still searching for Merle he stumbles across Michonne who explains he let her go – leading Daryl to chase his soon-to-be-deceased brother. Merle’s plan is as follows: attract a load of zombies with loud music, drive into the abandoned factory base and wait for the Governor’s men to wander into the chaos. When they arrive he pops shots over the other team’s, managing to kill a few henchmen without getting noticed. Sadly, the newly-noble character is found, beaten and left for dead by the angered Governor.

Before the final cliff-hanger we return to the prison where Glenn proposes to Maggie after talking with Hershel. Also in this brief part is Rick gives a rousing speech about his relationship with his team/family and his loyalty to them all that can and never should be compromised. “We are the greater good” he asserts – one more intrepid description of The Walking Dead’s main troop. 

Episode 16 ends with the aforementioned showing of zombies shredding henchmen to pieces and then chewing on their corpses. It’s a classic image of zombie-related fiction and is this week’s best bit of blood-lust. Daryl is the one who happens on the scene, killing the few biters. Shooting one dead, he moves on to another chewing away on one of the Governor’s men, staring hard at it he realises it’s Merle. Much like when Rick discovered Lori had died, Daryl’s reaction to the loss of a loved family member is exceptionally sad; more so because we love Daryl and see his gentleness behind the tough exterior. As he wells up with tears it’s very difficult to fight them off yourself. The pair tussle as one goes to bite and the other has nothing but sadness and confusion running through his mind. Daryl then goes mad, thinking of what he has lost and what could have become a stronger and more heartfelt companionship, stabbing Merle’s skull again and again. It’s a moment of raw intensity and Noman Reedus is terrific at portraying the unmitigated grief.



We will now have either a broken Daryl or an enraged, unstoppable Daryl. My money’s on the latter but in any case, the finale should hopefully be awash with emotion and action.

By Piers McCarthy. Also posted on Flickering Myth

The Walking Dead Season 3 Episode 14 Review

Much like “Clear”, Episode 14 of The Walking Dead focuses on a specific story arc.  The third season is heavily reliant on the conflict between Rick and the Governor, and since we know a great deal about Rick already, the writers are developing the Woodbury foe with terrific care.

Major spoilers follow

Of course, at the moment, any spotlight on the Governor involves his right-hand-man, Milton and his lover, Andrea. The latter has slowly been edging herself away from the eye-patched menace, seeing his Machiavellian ego for all its worth. So for a lot of “Prey”, Andrea is the centre-point.

We start off, rather bizarrely, with a flash-back to Andrea and Michonne during their time together. The question of who the two jawless, armless, chained-up zombies are is something we as an audience have wanted to know for a while. Still, in comparison to the rest of the episode, the flashback and its content barely matches the tone and theme of the episode. We are finally told that they were people Michonne once knew, and not people she liked it seems. The other quick scene before the credits start up is of the Governor preparing a torture chamber (and enjoying it a little bit too much).

Audience’s concerns about the Governor’s “sanity” have been there from early on. Now it’s Andrea, and even Milton, questioning his morals and his actions habitually. Showing Andrea the torture room from a space above, Milton implores Andrea to tell the prison group to leave before war and in time, the Governor will move on. Andrea is more adamant about killing him, however, and we witness another perfect set-up for just that. As the Governor works beneath them, Andrea aims her gun at him. We know that the chances of him being killed this unassumingly are slim so the tension is never quite there in this moment. But, the interaction with Milton does add something to the scene; he still protects “Philip” but also considers the ramifications of Andrea’s decision.

Andrea understands Milton’s apprehension and leaves on her own (before confronting the newbies who want no trouble and let her pass). Andrea out on her own is an interesting choice of direction for the episode as we haven’t had much chance to follow her singularly since her entering Woodbury.

The friction between Andrea and the Governor lurks under the surface of their face-to-face interaction but as this episode shows, it’s about to become truly unmistakable. After she leaves the Governor starts asking questions about where and why. Milton is one such person questioned – his answer of knowing she was leaving finally erodes their friendship, with the Governor aggressively pinning Milton up against a rail.

The hunt begins after Andrea departs – the Governor seeking her out himself and Caesar showing the new lot the ropes. Tyreese and co are a pretty dull bunch, in all honesty, and their spats and discussions bring hardly anything to the show. Tyreese is the strongest character out of them but only due to some discord with Andrew Lincoln 2 (Daniel Thomas May – a southern accent and deranged mind away from being Woodbury’s Rick). Fortunately, not so of the episode is devoted to their story and we cut back to Andrea, the Governor and Milton.

Andrea on the run contains one of the best moments of The Walking Dead, but not before a clichéd crack at some scares. Dodging the Governor’s car by running into the woods, Andrea leans back on a tree with no apparent danger in sight. Out pops a walker’s arm followed by two other walkers walking over. It’s not a terrible piece of action, but just too formulaic for the maturity of the show. However, it may have been an excuse for some weekly blood-lust which it provides once Andrea stabs the zombies and snaps the arm of the walker behind her.

Some may find the next scene slightly familiar (No Country for Old Men, anyone?) but it still creates quite an atmosphere of dread. The Governor hooting the horn as Andrea runs for her life is a strange action, calling her out like a madman. Nothing compares to the following chase – arguably one of the series’ finest moments.

Looking and sounding like a scene from Halloween (with Jonathan Ortega’s chilling composed music), the eight-minute hunt is superbly directed and acted. The Governor may still be out of harm’s way for the season’s climax (expectedly) but Andrea’s fate is not certain. That’s why her creeping around the factory, cautious of not making any noise and escaping biters along the way, makes your heart pound.

It’s almost too wonderful not to need analysis but if anything has to be said, Andrea’s escape is fantastic. Opening the door onto herself (and therefore protecting her from any walker’s contact) and letting a flood of walkers come in through an adjacent room into the Governor’s path is such a crowd-pleasing instant. He fires off rounds of ammo and thwacks the skulls on the oncoming hoard and is left to fend for himself.

Andrea finds the prison and is almost caught in the sight of Rick’s scope. That’s before the Governor grabs her and pulls her down (confusing poor old Rick, leading him to think it’s another hallucination).

The penultimate scene shows the walkers who have been trapped by Caesar and his crew being burned in a blazing fire. It could either be Tyreese (who expressed distaste to the idea of using them as weapons), but it’s most certainly Milton. This is his way of getting back at his old friend – and after questioning a naive Tyreese, the Governor knows it’s his spectacled companion. So for Milton, the end could be near.

Speaking of end, the last shot we see is Andrea tied up in the Governor’s formidable torture room, giving us another brilliant cliff-hanger.

By Piers McCarthy. Also posted on Flickering Myth

The Walking Dead Season 3 Episode 13 Review

Two fierce, angry men are planning war against one another. Both have a team of loyal and dedicated soldiers ready to fight the opposing side. As well as this rivalry, there is a seemingly never-ending hoard of the undead that always need to be getting the sharp end of each side’s sticks. The social politics of The Walking Dead has continually been the backbone of many of its episodes, though for episode 13 it’s undeniably obvious.

Major spoilers follow

David Boyd, television director/cinematographer, whose work includes Deadwood and Firefly, clearly understands the cool aesthetic of the Western genre. That’s why “Arrow on the Doorstep” begins like a fine Leone film. This comparison, albeit, is only minor as it is mainly the first four minutes that capture the silent, multiple angle set-up of the Spaghetti style. Nevertheless, it builds up a dread that all great Walking Dead episodes need to have. Rick tiptoes through an abandoned barn whilst Daryl and Hershel watch guard from the outside. We don’t understand what they’re up to until Rick comes eye to eye (no pun intended on the cyclopean villain) with the Governor. Cue creepy credits.

So just who is the bigger man in The Walking Dead; the boss/the alpha male/the don? Almost the whole of this episode looks at this query – with Rick and the Governor sitting down negotiating matters of territory and brethren, Daryl and Caesar showing off their slaughtering skills, and Glenn and Merle shouting and sparring. For Rick and the Governor it’s a subdued cock fight with words and reasoning being used as the figurative swords. We all side with Rick but we also understand the Governor’s desire for Michonne being handed over – after all, she did “kill” his daughter and leave him with one eye.

“One woman worth all those lives in your prison?” is a rational question to be asked, and in all honesty it’s tough to decide on whether Michonne is. On the one hand, she’s a kick-ass fighter and on the other she’s a mysterious, unreadable member of the group. Still, as Hershel says at the end, she saved a lot of the groups’ lives. Rick tells everyone he will go to war (never mentioning the Michonne-bargaining to anyone but Hershel) but only wants to be talked out of it. Could part of being talked out it lead to Michonne’s handing over; Hershel and his daughters’ lives in jeopardy over one newcomer? That’s a development that’ll make the next few episodes very interesting.

As well as our hero and villain in disagreement, their human side-arms are similarly quarrelling (though just as respectably). Daryl and Caesar showing off their walkers killing technique is peacocking of the highest degree, but for no woman. Andrea is present (before she rolls her eyes at them and leaves) though it’s a test to see who has the better slice, whack or stab when it comes to killing zombies. Daryl obviously wins and earns Caesar’s respect as the two chat post-rumble. As it is with Rick and the Governor and Milton and Hershel (discussed soon), it is the discussion of loss that breaks the tension between the two enemies (even if only briefly).

Milton and Hershel are the two that connect the most. Milton is ingeniously collecting notes on the events of the apocalypse for future generations to look back on, something that Hershel (and most of the audience will) find endearing. Milton’s avid curiosity about the time of infection, amputation and healing of Hershel’s amputation breaks the ice, with an additional quip from Hershel. As men of medicine, here is a pair who would be a great duo were it not for the divide of colonies. It’s something that might develop later on (perhaps if the war is won by Rick, Milton may join with them).

As the two parties separate after lengthy discussion – to be resumed again at a later date – the episode ends with a juxtaposed feeling of divide and familiarity. Talk of war may be exciting for the action-loving audiences but as Rick mentions, it’s not a sought-after outcome (especially now that they have all talked with one another). Maybe war will not come and The Walking Dead will throw another curve-ball. As of now, we have our heroes on edge at the prospect of battle – “They need to be scared...’cause that’s the only way they’ll accept it” as Rick tells them. He’s right in a broad sense; not all of them are intent on risking their lives but if it is the only way, that’s what needs to happen. That’s a common theme of the series – the last resort – and the viewer continues to ponder over the extent/limit of it. 

By Piers McCarthy. Also posted on Flickering Myth. 

The Walking Dead Season 3 Episode 12 Review

Often in assessing The Walking Dead I forget about the scale of the show; mostly I look at the writing and the direction, but rarely the design and set-pieces. Watching episode 12 was wonderfully eye-opening for immediately drawing my attention what I usually forget about it.

Major spoilers follow

“Clear” is a fantastic return to a singular narrative strand. It’s not often that the various stories are diluted down to a particular character or small group, so episode 12 feels nicely refreshing. What’s more, it also brings us back to Rick, Carl and the late Lori’s hometown.

Before we reach the long-left homeland of Rick and family, we are taken on the journey there. The car ride consists of a fretful Carl, worried about Michonne’s company, and a hysteric hiker yelling for them to stop the car and pick him up. I was excited to see a new, loner figure emerge in the chaos of The Walking Dead’s world as I always welcome a new story and character (the world of the graphic novel/TV series must be exceptionally rich for possible stories). Sadly, he’s ignored as Michonne speeds on by him. Afterwards, Carl, Rick and Michonne find themselves slowing and sticking in a road collision site, a muddied track keeping them momentarily static. There is then a sudden zombie attack but it’s quickly over. Two exciting elements are introduced – a new character and a hairy fight – but quickly deserted, leaving me entertained but also disappointed at lost story and action opportunities.

We then enter King County and your mind and eyes are rapidly attuned to detail. The detail of props and set-design is astounding – the place is littered with graffiti, signs, animal cages, and defences rigged up. The police artillery barracks has been raided and only a pile of burned bodies shows for walker-action. In a few minutes an overwhelming sense of history is created.

“It looks like somebody’s already made this theirs” says Michonne. It certainly appears that way and whoever is behind the odd DIY fortification has clearly spent some time securing their home. A zombie then shuffles in, showing some “life” to this silent town. As they go to kill the walker a bullet shatters its skull and our heroes are quickly alerted. The gunman demands they leave, sans weapons. Of course, Rick having come all this way to fortify himself for the Governor is not going to leave with fewer guns then he started with. A worrying bullet ballet happens but it’s eventually Carl who shoots the assailant, revealed to be none other than Season 1’s Morgan.

And so our interest is fired up to 11. They bring him back to his fortress – a home with more traps than Home Alone and Skyfall combined. Inside are the guns, a ton of them (“He’s been busy” is an understatement, Rick). Grabbing all they need – and more – Carl and Michonne set off to find a family photo of Carl’s. Left with the unconscious body of Morgan, we’re expecting a great reunion. Noting, however, the message-covered walls, Morgan’s mind may not be all it used to be (and with a son who has “turned”). Waking up he is crazed and confused. A brief tussle and Rick finally gets him to the point of reminding him of old times.

Lennie James as Morgan was a brilliant actor to start off the programme – another Brit who was making a grand and impressive entrance into mainstream American TV. Leaving him was a huge loss but having him back is a fantastic surprise. Having a lot to play with, in terms of character, James steals the show. The two men whose minds are not all there is a dangerous combination, but they balance out each other well. Rick, for the time being, has to return to “normal” in order to calm Morgan and we see Andrew Lincoln as the head-strong hero we love him for. It’s a stirring episode hearing about Morgan’s huge loss, loneliness and lunacy. Cries of anger and sadness are not uncommon in this programme but when paired with a cared-for character (like Rick when he found out Lori was dead) it makes for teary television.

Meanwhile, Carl’s desperate attempt to get his family photo from a zombie-infested restaurant gives us a bit of action and gore.  Using Morgan’s traps they distract the walkers, but only for a few minutes as one of the rat-traps open and the undead follow the scurrying vermin. Michonne uses her sword skills and we see bursts of blood and decent effects (enough to satisfy the action-adorers). As he and Michonne fail to quietly and safely enter, Michonne then goes back in and emerges with the sought-after photograph. Carl finally sees the good in her, and her place in the group has been cemented (as Carl reiterates at the end of the episode).

“Clear” finishes with Morgan choosing to stay in his kitted-out habitat. It’s a shame he couldn’t have joined Rick but two damaged minds would certainly jeopardise everyone. It also adds to the poignancy of the episode leaving Morgan with the ghosts of his past – a theme repeated with Michonne mentioning how she used to talk to her dead boyfriend, in a conversation about Rick’s ghoulish hallucinations. 

A really tremendous episode that has everything going for it – A-grade writing, acting, direction and design. Now with all the guns and ammo taken we can expect an epic war to be fought, though I hope the writers don’t forget smaller stories such as these as they are expert examples of engaging television.

By Piers McCarthy. Also posted on Flickering Myth

The Walking Dead Season 3 Episode 10 Review

I labeled episode 4 of Season 3 “arguably the ‘best ever’” which I still stand by. However, in terms of the direction and editing of action, “Home” is superb. We pick up from the end of “The Suicide King” with Rick still hallucinating. One may wonder if it will become an episode dealing with the psychological trauma that Rick is undergoing; in a sense, it is. Whenever the scene focuses on Rick we are analysing his fragility, his strength and his sanity. 

The opposing Woodbury group are similarly shown in a meditative light to begin with; Andrea, Milton and the Governor under close scrutiny as to who is loyal. The Governor stays loyal to Andrea, promising her pacifism toward the prison group. Though, to the ever-wary audience, this just appears to be another one of his Machiavellian statements.

Cut to the newly formed third-narrative strand and Merle and Daryl are wandering the woods looking for food. This, at least for me, is what I wanted to see. Daryl is one of the best characters (if not, the best) character in the series and any chance of him disappearing would quickly sour the show’s sensationalism. And whilst seeing the two brothers up to very little is not everything we expect and desire it’s still better than nothing. Luckily, uproar and tension arrives with an isolated incident on a bridge with a group of survivors under attack from a hoard. In this brief but bloody scene Daryl shows off his independent, heroic, bad-ass persona – freeing the viewer from any worry about his future as a dullard double-act with Merle.

This scene’s violence and effects is top-notch and only a mere burst of energy compared to what’ll come later. One zombie drops to the ground, head by the wheel of a car, and has his head explode under the force of the tyre. It’s a small but excellent example of the effects team’s skill.

Balancing out the drama and action we return to the prison where Axel and Carol are having a friendly chat. This is the first instance where Axel’s character has been explored. He has never appeared malicious or unfriendly. The moment you finally say to yourself, “I’m liking this guy” his head snaps back with a sniper’s bullet. Sudden and completely unexpected it’s a bold move from the writers to kill off a character just about to be properly introduced. However, it was the case with Oscar and the original prison leader – dead within the space of an episode – and the no holds barred approach to story-telling is what makes The Walking Dead (and other hits including Breaking Bad and The Wire) so damn thrilling.

And so to the aforementioned action...

Axel falls, Carol lies behind his body; Rick, out in the fields trying to capture the Lori phantasm, leaps to safety under a bridge amidst the barrage of gunfire; the rest hide in the prison fortress, desperate to provide some cover fire. As unexpected as it seems, this is the Governor with a definite plan. With bullets aiming to hit as many of Rick’s group as possible, he adds walkers to the equation by driving a van through the gates and releasing a small swarm (followed by walkers surrounding the building). This has all happened within the space of two or three minutes and ends as quickly as Axel’s life. Speaking of Axel, the poor bastard is riddled with bullets as Carol shelters behind him – a weirdly noble sacrifice.

Just as each of our hero’s lives seem in dire jeopardy, the Governor leaves. Danger is not absent however, and the walkers still surround and invade the territory. No one is more vulnerable than Rick on the outskirts of the forest. He shoots and whacks his way through a few but looks surely to get injured. It’s here where the episode could likely end – leaving us with a spectacular cliff-hanger. Still, what happens next is even better. A close-up shot of Rick and a zombie’s gaping, biting mouth inches apart and then the beautiful sight of Daryl’s arrow piercing its way through the undead’s forehead. It is a moment of pure joy knowing our favourite has returned, and with such brilliant timing. Of course Merle is with him but in that moment it’s not an issue; just to see Daryl back where he belongs is divine.

The episode draws to a close with Daryl, Merle and Rick dashing back to the security of the prison walls. Nothing much needs to be said (that’ll be the next episode’s job), it’s a simple declaration of war.  

By Piers McCarthy. Also posted on Flickering Myth