Review: The Walking Dead S4E09 “After”


 

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“I know we’ll never get things back to the way they used to be.” — Rick Grimes

We finally see the return of AMC’s very popular horror series, The Walking Dead, after a couple months on hiatus. Last we saw the series seemed to have done a sort of reboot of season 3’s season finale. A season finale that people thought would include not just the Governor’s assault on the prison, but the scattering of Rick’s group to the four winds. Season 3 didn’t end as expected and to say it was anti-climactic would’ve been a major understatement.

So, out goes Glen Mazzara as showrunner of the show and in comes Scott M. Gimple as head honcho for season 4. The change has been a nice change for the series which can’t seem to get on a consistent narrative track. Sure, it’s had major moments when it’s best thing on TV at that given moment, but it’s a far and few.

Gimple has done a much better job this season of letting the characters grow and let them dictate how the season unfolds. The zombies continue to remain the main threat (this season has shown them to be even more dangerous than in season’s past) but now interpersonal conflict adds a new level of complexities to keeping everyone safe and alive for one day more.

The first half of the season saw many new characters introduced (some given to more time to develop while others just cannon fodder) and some leave and some die. The biggest exits happening to be that of Hershel and the Governor himself. Both end up getting their ticket punched in the very assault on the prison that fans of the comic book have been wanting to see since the end of season 3. With that reboot of last season’s finale out of the way and with Rick and his group surviving out in the wilds in their own separate ways we now come to the start of the second half of The Walking Dead season 4.

Tonight’s return starts off pretty much moments after episode 8 with the prison now in flames and zombies pretty much roaming everywhere. We get Michonne returning to find something or someone. In the end, she ends up finding two zombies she turns into armless and jawless pets to help her blend in with the rest of the herd. She also manages to find Hershel’s reanimated head which she destroys and leaves behind but not before pausing for a moment to remember al that she has lost once more.

The episode jumps back and forth between Michonne’s time spent after fleeing the prison and those of Rick and Carl. The father and son duo are having a much tougher time. Rick is too injured from his fight with the Governor and their supplies of ammo and provisions are next to nothing. It doesn’t help that Carl’s resentment towards Rick has come to the surface after the disastrous events at the prison.

This episode was really about Michonne and Carl dealing with the events from the previous episode. Michonne has seen the group she has begun to see as a family scattered everywhere and a place that was becoming home destroyed. Worst yet would be seeing Hershel, who she was beginning to connect with, killed before her eyes. This causes her to revert back to how we first saw her in season 3. Alone once again and dragging along two zombie pets to keep her safe. Maybe being alone and away from any sort of emotional attachment would be best for her, but her own subconscious makes it finally known to her that this is not so.

She could sleepwalk through the rest of whats left of her life in this post-apocalyptic world or try and retain some of the humanity and connection with others that she was having within Rick’s group. Or she could just give up and end up becoming like the very thing that has destroyed the world. We see this in a sort of flashback dream sequence where we finally get some backstory on Michonne and her life before the fall of civiization. We now know where she got her original pair of zombie pets and why she had such a strong reaction to holding baby Judith back in the prison. This flashback Michonne was not the badass, katana-wielding survivor we’ve come to know the past two seasons, but one who seemed well-to-do with a nice family and a young son.

Like everyone else in this new world order she has lost just as much as everyone else, yet she seems to have found a way to adapt and prevail while others fail and die or succumb to their basest instincts. In the end, she chooses to get back what she had lost fleeing the prison and the zombie salughter she initiates in doing so seemed not just cathartic for her character but for the audience as well.

As for Carl, we see him attempting to deal with his current situation on his own. His resentment toward his father’s inability to protect him, Judith and everyone at the prison has begun to gnaw at him. He sees Rick as a failure not just as a father, but as a leader. His needling of Rick by mentioning Shane’s name and everyone who has died under his watch sounds like harsh truth being exposed, but also makes Carl come across like a rebelling teen trying to prove to his father that he is better than him. As we see throughout Carl’s segment, he can take care of himself, but he also has so many close-calls that his bravado makes him out to be like a teenager playing at being an adult when everyone knows he still has further to go.

Yet, as much as Carl might not be ready to cut off the parental strings, Rick understands that continuing to treat Carl like a regular kid who must be protected from the dangers of the world doesn’t belong in this new world. The Carl that Rick was searching for in the first two episodes of season 1 is no more. His son has become not just a veteran and capable survivor like him, but one who has left his childhood behind in order to be more helpful.

The Walking Dead will always be about the zombies and how this new world has danger for it’s survivors lurking in every home, building and shadows both zombies and humans. Yet, the show, especially this season, has tried to explore what this world has done to these survivors and how it’s either brought out the best, worst and everything in-between. We’ve seen characters fail to live up to the very ideals that allows one to keep a hold on their humanity while others succeed. Tonight we saw two survivors who have made a sort of peace with their situation and now moving forward to try and live one day more.

As the tagline for the second half of season 4 points out: “Don’t Look Back”.

Here’s to hoping that the show’s writer take that motto to heed and continue to look forward instead of looking back trying to fix what needed fixing. The show is now halfway through it’s fourth season and, for good or ill, it needs to move ahead with what it has established and let the audience decide whether they should continue to watch week in and week out.

Notes

  • Tonight’s episode was written and directed by The Walking Dead creator Robert Kirkman and series producer Greg Nicotero.
  • The cold opening for tonight’s episode was almost scene for scene out of the comic book with the exception of Hershel taking the place of Tyrese.
  • It was nice to see Aldis Hodge in the role of Michonne’s lover and father to her son. He was great in Leverage and nice to see him back on the small screen.
  • Michonne’s dream flashback gave us some answers as to her past, but it still doesn’t answer the one important question: where she got the katana and how did she got so proficient with it.
  • Still no word on baby Judith.
  • Talking Dead Guests: series producer and KNB FX head honcho Greg Nicotero and Michonne herself, Danai Gurira.

Season 4

Song of the Day: Chernobyl (performed by Blanck Mass)


Have you seen Ben Wheatley’s A Field In England yet?

If you haven’t, you really should.  It’s just now getting an extremely limited theatrical release here in the States, though it’s also available via video-on-demand as well.  I saw it earlier tonight at the Alamo Drafthouse (which is the greatest theater in the U.S., by the way) and I’m still working out my feelings towards it.  It appears to be a film about a criminal, an alchemist, and a group of military deserters who, during the mid-17th Century, find themselves in an English field searching for a treasure that may or may not exist, while some of them have visions that may or may not be real.

Regardless of whether you think A Field In England is brilliant or just pretentious (and I think a good argument could be made for either conclusion), everyone can agree that one of the more memorable scenes in the film is the “tent scene”.  You can watch the scene below, though it definitely loses something when taken out of context from the rest of the film.

The song playing as that unfortunate man walks out of that tent is Blanck Mass’s Chernobyl.  And it’s also today’s song of the day!