Traces to Nowhere is an episode defined by two accidents.
The first is Pete Martell serving Agent Cooper (Kyle MacLachlan) and Sheriff Truman (Michael Ontkean) fish-tainted coffee while Cooper and Truman are asking Josie (Joan Chen) about Laura Palmer (Sheryl Lee) tutoring her in English. Pete runs into the room, saying, “Fellas, don’t drink that coffee! A fish fell into the percolator!” Hours later, sitting at the Double R Diner, Cooper says that he still has “the taste of that fish-flavored coffee in my mouth.”
The other accident was Killer Bob, who makes his first appearance when Mrs. Palmer (Grace Zabriskie) has a vision of him in the corner of a room. Bob and his sudden appearances would become one of the best known things about Twin Peaks but, ironically, he wasn’t even a part of the show’s original conception. Bob was played by Frank Silva, a prop master and set decorator who was working on the pilot episode of Twin Peaks when David Lynch accidentally caught his reflection on camera. Lynch was so taken by the accidental image that he created the role of Killer Bob specifically for Silva. Silva made a strong and undeniable impression as the growling Bob but, unfortunately, it would be his only role as an actor. Silva died of AIDS in 1996, four years after appearing in Twin Peaks: Fire Walk With Me.
Frank Silva as Killer Bob
Traces to Nowhere was the first regular episode of the series, following the pilot. Probably in order to reassure nervous television executive and viewers who were on the fence about whether or not Twin Peaks was for them, this episode is more quirky than actively strange. A lot of time is devoted to the show’s more soapy plot threads, like the affairs between Ben Horne (Richard Beymer) and Catherine Martell (Piper Laurie) and Donna Hayward (Lara Flynn Boyle) and James Hurley (James Marshall) and the abusive marriage of Leo (Eric Da Re) and Shelley (Madchen Amick).
There are a lot of first in Traces to Nowhere. This is the episode where Audrey first talks to Cooper, Cooper first says that the Great Northern serves a “damn fine cup of coffee,” where Cooper first has a slice of cheery pie, and where Cooper first talks about Albert Rosenfield. This episodes also features the first mention of the Bookhouse Boys and, most importantly for fans of the series, the first appearance of Catherine Coulson as everyone’s favorite Log Lady. When the Log Lady first shows up and tells Cooper to ask her log who killed Laura Palmer, the character seems like just a throw away joke. But fans of the show know how important the Log Lady will become.
Catherine Coulson, was passed away in 2015, was the ex-wife of Jack Nance, who played Pete Martell. Coulson and Nance both worked with David Lynch on his first film, Eraserhead. It is said that during the shooting of Eraserhead, Lynch looked over at Coulson and said that he had just suddenly had a vision of her holding a log. (Nance and Coulson were not the only Eraserhead alumni to later appear on Twin Peaks. Charlotte Stewart, who played the weak mother of Bobby Briggs on Twin Peaks, earlier played Mary X, Nance’s strange girlfriend in Erasherhead.)
I will be the first admit that I’ve been very critical of season 7 of The Walking Dead. I’ve spent weeks complaining about the pace of the story and episodes that didn’t seem to go anywhere. I have been very open about my frustration with the one-dimensional villainy of Negan and my feeling that Rick Grimes is an incredibly overrated hero. I don’t take any of that back.
But you know what?
The seventh season finale of The Walking Dead was pretty damn good. Don’t get me wrong. It wasn’t great. There were still pacing problems. There was still way too much time spent on Negan chuckling before launching into one of his marathon monologues. I would have preferred that, instead of ending with Negan announcing, “We are going to war!,” that the episode had ended with the war already over and Negan vanquished.
But, even with all that in mind, The First Day Of The Rest Of Your Life was a well-executed finale and it went a long way towards making up for some season seven’s weaker moments.
At first, it didn’t seem like that would be the case. When the show started with Sasha in what appeared to be a cell, I will admit to rolling my eyes a little. “Please, God, no more cell monologues,” I thought as Negan popped into her cell and proceeded to give a monologue. Now that I know that Sasha was in the process of committing suicide, her scenes with Abraham and Maggie are undeniably poignant. But, at the time that I was first watching them, I have to admit that my first thought was that Abraham was getting more dialogue now that he was dead than he ever did while he was alive. When Abraham said that Maggie was carrying the future in her, I thought to myself, “She’s been carrying the future for two years. Is that baby ever going to be born?”
And, when Dwight told Rick that he had a plan and Rick asked to hear it, the only thing that kept me from throwing a shoe at the TV was that I wasn’t wearing any. “Rick doesn’t have a plan!?” I snapped, “All this time and he hasn’t come up with a plan!? No wonder Carl’s always looking for a new father figure!”
And then, finally, when the Scavengers revealed that they had been working with the Saviors all the time, I chalked it up to another case of Rick not being the strategic genius that everyone always seems to assume that he is. As Rick stood there with guns pointed at him, I mentally prepared myself for the task of having to sit through yet another Negan monologue.
At the time, I didn’t realize how skillfully The Walking Dead was toying with me and my expectations. In retrospect, I can see how perfectly the show played me. Of course, I would be frustrated with Rick. And, of course, I would be dreading the idea of another Negan speech. And, just when I was on the verge of giving up, the show gave us…
ZOMBIE SASHA!
The moment that Zombie Sasha burst out of that coffin is destined to be remembered as the 2nd greatest moment in the history of season 7. This was the only time that I can think of that anyone on the show made a deliberate decision to use zombiefication to turn themselves into a weapon. I’m going to assume that Eugene secretly slipped her some poison before she got in the coffin. It was too bad that Sasha had to die but, if you have to die, die with style. At least this is one death that Rick wasn’t indirectly responsible for. The blame for this one can be put on Rosita.
You may have noticed that Zombie Sasha was my choice for the 2nd greatest moment of season 7. What was the first?
RESCUE SHIVA!
After the disruption of Zombie Sasha, the Saviors thought they had regained control of the situation. Carl and Rick were on their knees. Negan was starting another monologue. I was starting to get frustrated again. And suddenly, out of nowhere, a tiger pounced! Ezekiel and the Kingdom showed up and basically kicked a lot of Savior ass. Negan fled. He may have extended his middle finger as he drove out of there but there’s no way to deny that the bully finally get his ass kicked. After all that has happened over the course of this season, it was nice to see Negan not only twice fail to complete a monologue but also get his ass kicked by a bunch of Renaissance Faire actors. It was pure chaos and it was beautiful.
As for the rest of the show, Rick somehow quickly recovered from being shot in the stomach and Michonne survived getting beaten half-to-death. Carl still has his one good eye and Father Gabriel showed up long enough to let us know that he’s still alive.
The Saviors lost a battle and, when Season 8 begins in October, it’s going to be time for war.
(In anticipation of the upcoming revival on Showtime, we’re rewatching and reviewing every single episode of the original Twin Peaks all through April! Enjoy!)
“She’s dead, wrapped in plastic.”
— Pete Martell (Jack Nance) in Twin Peaks 1.1 “The Pilot”
When I was thinking about how I was going to open this review of the pilot episode for David Lynch’s iconic (and soon to be revived television series), Twin Peaks, I thought that I would start with this simple statement:
Twin Peaks opens with tears.
Then I rewatched the pilot on Netflix and I discovered that I was actually very incorrect. Though I always think of the tears whenever I think of Twin Peaks, the pilot does not open with them. Instead, it opens in a very David Lynch-like fashion — with signs of normalcy while Angelo Badalmenti’s ominous theme music provides hints that all is not as safe as it seems.
Really, it’s silly to try to talk about the pilot of Twin Peaks without including the opening credits because, in their deceptively simple way, they really do provide a road map of what’s to follow:
The opening credits, with their mix of shrouded atmosphere, man-made machinery and seemingly placid nature, are about as Lynchian as you can get.
Then again, the town of Twin Peaks is about as Lynchian as you can get. Located only a few miles from the Canadian border in Washington State and surrounded by beautiful mountains and glorious wilderness, Twin Peaks is a town that seems strangely out of time. Twin Peaks takes place in 1990s but, at times, the town seems to be stuck in the 50s. Not the real 50s, of course. Instead, it’s the 1950s of television, movies, and the popular imagination. It’s a town where soulful loner James Hurley (James Marshall) wears a leather jacket and drives a motorcycle while teenage vixen Audrey Horne (Sherilyn Fenn) dresses like Natalie Wood in Rebel Without A Cause and waits until she’s safely at her locker to slip on a pair of red high heels. Audrey’s father, ruthless Ben Horne (Richard Beymer), makes plans to sell the town to the Norwegians while, at the local diner, wise Norma Jennings (Peggy Lipton) wearily watches over her customers. It’s a world that could only exist in a dream and what a dream it is.
So no, the pilot of Twin Peaks does not open with tears. Instead, it opens with Pete Martell (played by Jack Nance, the star of Lynch’s Eraserhead) going out to fish. He tries to get a kiss from his wife, Catherine (Piper Laurie), but is coolly — but not cruelly — rebuffed. One gets the feeling that this is a ritual that they go through every morning. It’s only after Pete has stepped outside that he sees the girl on the shore, naked and wrapped in plastic.
That girl, of course, is Laura Palmer (Sheryl Lee). The high school homecoming queen. The girl who did volunteer work. The girlfriend of football player Bobby Briggs (Dana Ashbrook). The daughter of Leland Palmer (Ray Wise), Ben Horne’s lawyer. The best friend of Donna Hayward (Lara Flynn Boyle) and the occasional rival of Audrey Horne. The secret girlfriend of James Hurley.
It’s after Laura is discovered that the tears begin and those tears dominate the first 30 minutes of this 90-minute pilot. Deputy Andy (Harry Goaz) is the first to cry. Laura’s mother (Grace Zabriskie) cries when she gets the news. Leland cries. Donna cries. At the high school, a girl runs by a window, screaming. The school principal announces that Laura has been found dead and breaks down into tears. Only a few people don’t cry. Ben doesn’t cry, knowing that a murder could ruin his business deal. Bobby doesn’t cry, even when he’s arrested under suspicion of having committed murder. (He was the last person known to have been with Laura.) Audrey doesn’t cry and instead, appears to faintly smile at the chaos around her.
And Sheriff Harry S. Truman (Michael Ontkean) doesn’t cry. However, that’s to be expected. Harry is the rock on which Twin Peaks is built, both as a show and town. He’s the least quirky character in the series. He is law and order. He’s got a murder to solve and making things even more urgent is that a classmate of Laura’s, Ronette Pulaski, is also missing.
The first 37 minutes of the pilot do a perfect job of establishing both the town and it’s inhabitants. Everyone has a secret. Everyone has a motive. Along with those that I’ve already mentioned, we also meet waitress Shelly (Madchen Amick), who is married to an abusive trucker named Leo (Eric Da Re) and who is having an affair with Bobby. We meet Bobby’s best friend and fellow football player, a real idiot named Mike (Gary Hershberger). We meet Donna’s father, Doc Hayward (Warren Frost). We meet the police dispatcher, the sweetly off-center Lucy (Kimmy Robertson). We meet Deputy Hawk Hill (Michael Horse) who is as stoic as Andy is emotional. We meet James’s uncle, Ed Hurley (Everett McGill) and Ed’s one-eyed, drapery-obsessed wife, Nadine (Wendy Robie). We meet Josie Packard (Joan Chen), who inherited the mill from her late husband and who is secretly Harry’s lover.
And, after Ronette is discovered wandering, zombie-like on a bridge, we meet FBI Special Agent Dale Cooper (Kyle MacLachlan). More than anything else, Cooper is who people think of whenever they think of Twin Peaks. MacLalchlan plays the quirky FBI agent with just the right combination of earnestness and eccentricity. Speaking into his ever-present tape recorder and praising everything from the trees to the pie to the coffee, Cooper quickly establishes himself as the perfect man to figure out what’s going on in Twin Peaks.
David Lynch once famously described his previous collaboration with MacLachlan, Blue Velvet, as being the “Hardy Boys Go To Hell,” and the same can be said of Twin Peaks. If the first 37 minutes of the pilot were dominated by sadness and secrets, the final 60 are dominated by Dale Cooper’s enthusiasm and cheerful positivity. The town may be strange but Dale loves the trees. Dale may be investigating horrible and brutal crimes but at least he’s found a good slice of pie and damn fine cup of coffee.
“You know why I’m whittling?” Dale asks Harry at one point. “Because that’s what you do in a town where a yellow light means slow down instead of speed up.” Dale smiles after he says it. It doesn’t take him long to fall in love with Twin Peaks.
Throughout the rest of the pilot, we get more hints of a world that’s threatening to spin off of its axis. Dale and Harry run into Dr. Lawrence Jacoby (Russ Tamblyn, who co-starred with Richard Beymer in West Side Story), who was Laura’s psychiatrist and appears to be in need of some therapy himself. When they look at Laura’s body in the morgue, the lights flicker on and off. When Dale finds a scrap of newspaper — featuring the letter “R” — underneath Laura’s fingernail, he grins as if he’s just made it through his first Communion. When Harry and Dale go to the local bank, a moose’s head just happens to be lying on the table in the conference room. It fell, they’re told. Despite all the strangeness, they go about their business. They’ve got a murder to solve.
“Mr. Cooper,” Harry says, at one point, “you didn’t know Laura Palmer.” But, as quickly becomes obvious, no one knew Laura Palmer. No one, for instance, knew that she was doing cocaine. And Bobby didn’t know that she was seeing James, or at least he doesn’t until he watches a video that Donna, James, and Laura shot inn the mountains over looking the town. Laura, who we’ve previously just seen as a dead body, is so happily alive in that video that it’s a bit jarring to see her. You half expect her to come out of the TV, like the girl in The Ring. The video ends with her smiling, as if she’s daring both Cooper and the show’s viewers to try to figure out who she actually was. Only later is it revealed that, in a plot twist reminiscent of Dario Argento’s Four Flies on Grey Velvet, James’s motorcycle is reflected in Laura’s eye.
Life goes on in Twin Peaks. Audrey, the character to whom I most relate whenever I watch this show, sits in her father’s hotel and penetrates a styrofoam cup of coffee with a pencil. “What would happen if I pulled this out?” she asks before doing just that. Audrey walks into the hotel’s conference room and tells the Norwegians that she’s feeling sad because her best friend was just brutally murdered, destroying her father’s business deal. (“The Norwegians are leaving! The Norwegians are leaving!” a hotel concierge vainly yells.)
(Perhaps not coincidentally, Norway was also the home of Henrik Ibsen, whose theatrical melodramas often dealt with many of the same themes — greed, infidelity, the corruption that comes with progress — that are present in Twin Peaks. An Enemy of the People could have just just as easily taken place in the American Northwest.)
Meanwhile, the local police come across the abandoned railroad car where Laura was murdered and Ronnette raped. Andy calls the sheriff’s office, in tears. “Tell Harry I didn’t cry,” he begs Lucy, “but it’s so horrible!” It’s a moment of very real humanity in the middle of this odd and disturbing mystery. When Andy begs Lucy not to reveal his very human reaction, it’s more than just shame on his part. It’s an indication that perhaps the only way to solve this mystery is to sacrifice one’s emotions.
And, as Andy said, it is horrible. When Dale and Harry walk through that railway car, we are reminded that, as quirky at the show may be, a very disturbing crime is still at heart of it. Among other things, they find a half-heart necklace (the other half is with James) and, written in blood in the debris, a message: “Fire Walk With Me.” As disturbing as this is in the pilot (and this scene really is Lynch at his best), it’s even more disturbing if you know who will ultimately be revealed to have been Laura’s murderer. But that information will have to wait for a later review.
It easy to believe that arrogant Bobby Briggs killed Laura but Cooper only has to talk to him for a few minutes to realize that he didn’t do it. Bobby may be a jerk and a drug dealer. And Cooper is surely correct when he says that Bobby never loved Laura. But Bobby is a bully, not a murderer. When Bobby is released, he and Mike go looking for James. As unlikable as Bobby is, Mike — with his blonde hair and all-American looks — is somehow even worse. At least Bobby is open about being an bad guy. Mike hides his darker instincts behind a carefully cultivated facade of blandness. Looking at Mike in his red letterman jacket, you really do want someone to claw his eyes out.
Mike and Bobby look for James at the Roadhouse, one of the most important locations in Twin Peaks. It’s a place where illicit lovers (like Norma and Ed) meet and where Julee Cruise sings haunting songs. Bobby and Mike may not find James but they do find a fight with Ed. This leads to Bobby and Mike spending the night in jail, which, ironically, is where they eventually find James. James has been arrested as a suspect in the death of Laura Palmer. In their cell, Bobby and Mike start to bark like wild dogs.
And so, a pilot that started with the humanity of tears ends with animalistic howls of anger, hate, and jealousy.
And so, Twin Peaks begins.
If I haven’t already made it clear, I am huge fan of the pilot for Twin Peaks. Say what you will about where the series eventually went, the pilot was and remains an absolutely brilliant dream of dark and disturbing things. Having rewatched the pilot, I am definitely looking forward to rewatching the rest of the series for this site and I hope you’ll enjoy the rest of our reviews!
Twin Peaks started with Marilyn Monroe. It sounds like a bad April Fools joke but it’s true.
In 1986, after the success of Blue Velvet, David Lynch was hired to direct a biopic of Marilyn Monroe. Lynch would later say that the Monroe film never happened because, while he liked the idea of doing a story about “a woman in trouble,” he was not comfortable with telling a true story. Even though the film was never made, it did lead to David Lynch meeting and befriending a screenwriter named Mark Frost. Frost, who had written for ground-breaking TV shows like Hill Street Blues, was one of the many screenwriter who would take a stab at the screenplay for the Monroe project.
Even after it became obvious that the Monroe biopic was never going to be produced, Lynch and Frost continued to look for projects that they could work on together. After several film proposals that failed to generate much interest, they followed the advice of Lynch’s agent and worked on a project that, like Blue Velvet, would look at the underbelly of life in small town America.
Lynch and Frost started with an image, a body washed up on the shores of the lake. The body was Laura Palmer who, like Marilyn Monroe, was a woman in trouble. Originally called North Dakota (because that was where it was originally meant to take place), this is the project that eventually became Twin Peaks.
Twin Peaks premiered on ABC on April 9th, 1990 and, for its first season, it was a phenomena. Though critics were often baffled, audiences were intrigued by the combination of Lynch’s surrealistic vision and Frost’s serialized storytelling. Twin Peaks was nominated for 14 Emmys at the end of its first season. The second season, however, saw rating sharply decline as audiences, critics, and executives all decided that the show was just too strange. After just 30 episodes, Twin Peaks was canceled.
Even after it ended, Twin Peaks lived on. There was a feature film. There were frequent reruns on stations like Bravo. Twin Peaks‘s quirky style changed the face of television. Shows like Picket Fences and Northern Exposure were basically Twin Peaks-lite, quirky without ever being truly surreal.
Despite the unceremoniously way that it ended, Twin Peaks never went away and new audiences discover it every day. In May, 26 years after it went off the air for the first time, Twin Peaks will be returning. with new episodes, to Showtime. Before it starts again, we are going to take a look back at the original Twin Peaks on this site. Look for Lisa’s review of the pilot tomorrow.
To quote Dale Cooper, “I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange.”
Hi there! Before I get around to saying what little I have to say about tonight’s episode of The Walking Dead, I want to share something with you.
Next week is the season finale and, naturally, it’s an extended episode. I have two fears.
I fear that next week’s episode will be 70 minutes of Rick and Dwight sitting in a cell and discussing right and wrong.
I also fear that the episode will end with Rick standing on a hill, looking back at all of his followers, and announcing, “And now — we attack!” This will immediately be followed by the end credits and Talking Dead. See you once Season 8 starts!
If either of those happen, this will be my response:
I have such mixed feelings about the pace of The Walking Dead. On the one hand, I appreciate that it’s a show that literally takes place after the end of the world. Civilization is over and sometimes, that is best represented by stillness. There’s no need for anyone to hurry because there’s really nowhere to go. There are no more jobs. There are no more movies. There are no more clubs. There are no more schools. There’s nothing. The only thing that matters in the world of The Walking Dead is survival and, often times, it’s necessary to move slowly and with caution to survive.
On the other hand, this season has been so slow! It feels as if it has taken Rick longer to organize this attack than it took for Lafayette to sail across the ocean and track down Gen. Washington. Yes, I appreciate why the pace is deliberate but there’s really only so many times that you can watch the same scene play out over and over again.
Tonight was a perfect example. It featured three storylines, all of which were way too dragged out. Tonight was basically 30 minutes worth of story stretched out to a full hour.
In Alexandria, Gregory again showed himself incapable of … well, just about anything. Nobody has any respect for Gregory. Maggie had to save him from a walker. Gregory’s either going to get killed by Negan or he’s going to get bitten by a walker. I think he actually had the potential to be an interesting character (and Xander Berkeley is certainly a good actor) but Gregory is so obviously doomed that it’s hard to really care about him one way or the other.
In Sanctuary, Sasha is somehow not dead. Instead, she’s in that same little cell that Daryl was in. Negan was apparently impressed by her suicidal attack. Why that would impress Negan, I’m not sure. Anyway, Negan killed a savior who was on the verge of raping Sasha. That’s a good thing, though you have to wonder if Negan set the whole thing up just so he’d have an excuse to play the hero. He wants to bring Sasha over to his side. Again, I’m not sure why. Mostly, I assume that Sasha’s alive so that she can be used as a hostage if Rick ever actually gets around to launching this attack that he’s been going on about.
(In many ways, Sasha being alive epitomizes this season’s greatest flaw. She’s not alive because there’s any real logic behind her somehow not being dead. Instead, she’s alive so she can be used as a plot device later on. Keeping Sasha alive comes at the price of whatever consistency had previously been established as far as Negan’s character is concerned.)
And finally, Tara told Rick about Oceanside so Rick and his people went down there and took all their guns. The scenes of Rick bullying the Oceansiders were mixed in with scenes of Negan trying to bring Sasha over to the Saviors. I got the feeling we were supposed to compare the contrasting leadership styles of Rick, Negan, and Gregory. Gregory is inneffectual. Rick will do what needs to be done but only when he doesn’t have any other choice. Negan just talks too much.
At the end of the episode, Rosita returned from Sanctuary. Accompanying her was … DWIGHT! So, Dwight was the man she saw in the shadows. Rick pointed a gun at him and told him to get on his knees. Apparently, next week’s episode will feature Rick talking to Dwight in a cell. I just hope they don’t spend too much time talking.
Anyway, as you can probably tell, this episode was way too slow for me. But, at least Rick does seem to be inching closer to finally launching that attack.
Tonight’s episode of The Walking Dead was the type of episode that drives me crazy. It was an episode where hardly anything happened and what did happen played out very slowly. In fact, I eventually ended up getting so bored that I started trying to imagine how The Walking Dead could ever come up with an episode slower than “The Other Side.”
After giving it some thought, I decided the only way it could happen would be if Terrence Malick agreed to be a guest director during season 8. As I sat waiting for something to happen in the episode that I was actually watching, I found myself imagining what the Malick-directed episode would be like.
I envisioned Rick standing alone in a vibrantly green field. The grass is high and the blowing wind creates gentle waves of nature. Rick looks up to the incredibly blue sky and sees one extremely white cloud floating over. Rick looks down at the ground. An egg hatches. A bird is born. Rick stares at the bird. The bird stares at him. They both flash back to prehistory. A sabre tooth tiger eats a caveman who looks suspiciously like Norman Reedus. Rick blinks. Rick’s back in the field. Christian Bale walks by, dressed up like a 1930s Oklahoma dust bowl farmer. He looks at Rick. Rick stares back. Christian Bale walks on.
On the soundtrack, we hear Ben Kinglsey’s voice. “What is this nature of man that refuses to accept that death begins with life and life ends with death? Will the grass blow for an eternity?”
Rick looks off in the distance. Walkers are approaching.
On the soundtrack, we hear Jessica Chastain’s voice: “I will wait you at the other end of the river, where the two waters meet in life and diverge in death.”
“Shane, Glenn, and old Dale Horvath,” Rick mutters, “Always you are at war within me.”
The walkers calmly walk by Rick. Rick notices that a man in animal skins is with the walkers and yet, the man is not eaten because he has returned to a more innocent and primitive state….
And so on and so forth.
Anyway, as for what actually did happen during tonight’s episode of The Walking Dead, I guess this was a pretty good example of why I should be careful what I ask for. For weeks, I’ve been defending Rosita and saying that people should let her attack the Sanctuary. Well, tonight, she and Sasha finally made it to the Sanctuary and that attack did not go quite as planned. First off, Eugene refused to go back to Alexandria with them. (A better name for the Sanctuary would be Stockholm because Eugene’s got a huge case of Stockholm Syndrome, am I right or am I right? Thank you, I’ll be here all night.) Then Sasha announced that Rosita needed to go back to Alexandria and ran into the Sanctuary to create a diversion. With Sasha undoubtedly getting shot up by Negan’s goons, Rosita ran off but then stopped when she saw someone in the shadows. I’m assuming it was Daryl.
(By the way, I know we’re all supposed to get mad at Rosita for potentially messing up Rick’s plans but seriously, can you blame her? Rick only has one plan: Do nothing until that’s no longer an option, sacrifice half of your people on a suicide mission, and make sure Carl survives to lose another eye.)
This all happened in the final ten minutes of the episode and it was pretty good and exciting. But to get to that point, we had to sit through a seemingly endless slog of scenes that mostly felt like filler. The Saviors showed up at Alexandria and, once again, we had to watch Simon bully Gregory while everyone else stood around and shook their head in disgust. Because Negan set his last doctor on fire, he decided to take Alexandria’s doctor.
“OH MY GOD!” the audience was supposed to shout, “Maggie’s pregnant and Alexandria has lost their only doctor!”
(Maggie’s been pregnant for a while now and she’s still not showing. Trying to figure out how much time has actually passed in The Walking Dead is almost as much fun as trying to figure out how long they were actually on the island on Lost.)
And yes, Negan arbitrarily taking someone else’s doctor because he stupidly killed his own does reinforce the fact that Negan is a jackass and something needs to be done about him. But seriously, it all played out so slowly. And it’s not like Gregory was going to refuse to hand over the doctor or anything. Other than Daryl almost coming out of hiding to attack someone, nothing unexpected or particularly interesting happened during all of that. It was all just more Savior bully bullshit.
When we weren’t in Alexandria, we spent an eternity watching Rosita raise and lower a rifle. At one point, I was scared that the whole rest of this season would just be Rosita raising the rifle, looking through the scope, and then lowering it.
Fortunately, this episode ended with some action but it took forever to get there. There’s only two more episodes left in this season so hopefully, the show will pick up the pace a little. Because, seriously, if season 7 ends with Rick announcing that it’s finally time to attack as he stares at the Sanctuary in the distance, I’m going to throw a fit.
Oh, for fuck’s sake! Will somebody please fight the goddamn saviors so that the damn show can move on to something other than tense stand-offs and rambling monologues from Negan’s goons!?
*sigh*
Okay, that’s out of my system. Let’s talk about the latest episode of The Walking Dead.
Judging from some of the response that I’m seeing online, a lot of people are proclaiming Bury Me Here to be one of the best episodes of season 7. I really can’t agree, though I will say that those who are saying that Lennie James was “Emmy-worthy” tonight are not incorrect. James had some great moments and it was nice to be reminded that Morgan is actually one of the more interesting characters on The Walking Dead.
For that matter, there was a lot of good acting on display tonight. Not just Lennie James but also Karl Makinen, who made you sympathize with Richard even if you couldn’t exactly blame Morgan for beating him to death at the end of the episode. The title’s episode came from Richard’s request and, by the end of the show, you did feel that Richard had earned the right to pick his own burial site.
(A lot of fans turned on Richard when, a few episodes ago, he suggested sacrificing Carol in order to bring Ezekiel in Rick’s war with the Saviors. Well, Richard shouldn’t have suggested that and yes, he did make some mistakes tonight. But goddammit, at least Richard was doing something other than growing melons.)
You know who else did a good job tonight? Logan Miller. He did a good job, even when the show’s script when out of its way to sabotage him. Has anyone ever been as obviously doomed as Miller’s Benjamin? From the minute Benjamin showed up tonight, we know he was dead. He offered to help out Carol. He looked up to Morgan. He had naive hope for the future. He had a girlfriend. He gave Morgan an uglyass painting for his uglyass room. Benjamin was so doomed and yet, Logan Miller brought at least a little bit of poignancy to his character’s obvious fate.
But, with all that in mind, tonight’s episode still moved way too slowly for me. It felt like a throwback to the first half of the season, before the show’s writers apparently realized how boring it was to have to sit through a new Savior monologue every week. There were hints of the show that we all want The Walking Dead to be. Even Morgan’s murder of Richard was a return to the unflinching yet plot-appropriate brutality that brought The Walking Dead its initial success. There were good moments but there were plenty of slow moments too.
Of course, that’s the way it’s almost always been with The Walking Dead. At the show’s best, the good moments are so good that they cause you to forget about the slow moments. At its worse, the slow moments are so slow that you give up on watching before the episode reaches the good moments. And then you have episodes like the one that aired tonight, where the good moments are good on their own and the slow moments are slow on their own and the whole thing never quite comes together. Tonight’s episode was a good thirty minutes stretched out to an average hour.
One final note — and I realize that I’ve said this a million times in the past and I’m probably say it a million times in the future — the Saviors are so fucking boring! Yes, I know that they’re bullies and they are properly hissable villains. You never feel anything but good when you see a savior die. But the show continues to act as if the Saviors are the most compelling bad guys since Milton inadvertently made Satan the most interesting character in Paradise Lost. Quite some time ago, I grew bored with various Negan lieutenants popping up, rambling on and on about tributes, and then demanding that everyone hand over their guns.
(That said, I am going to give some special credit to Josh Mikel, who, tonight, made Jared into the most loathsome savior of all.)
So, that’s why I say this: HURRY UP AND GET TO THE WAR! If Rick and Negan are not in the middle of an official war by the end of the season, I worry about the future of The Walking Dead….
Early on, during tonight’s episode of The Walking Dead, I saw Rick smiling and I thought to myself, “Oh, shit…”
See, it’s a general rule that, whenever Rick’s happy, something terrible is about to happen. Rick is not allowed to be happy. Remember what happened when he was happy about being reunited with his wife, son, and best friend Shane? Remember what happened when he thought he could make a new life as a pig farmer? Nothing good is allowed to happen to Rick.
So, when it briefly appeared that Rick might be dead towards the end of the episode, I thought he very well might be. I have to admit that I was kind of excited about the idea. Who would step up to take Rick’s place? (Daryl.) Who would Michonne love without Rick around? (Daryl.) Who would Carl look up to if Rick was dead? (Daryl’s the obvious answer but knowing Carl, he’d probably run off and ask Negan to adopt him.) And I have to admit that, as a reviewer, I was looking forward to not only writing about the impact of Rick’s death but also seeing all the extra hits that my post would get. I’ll admit it, I’m not that innocent.
Of course, then Rick suddenly emerged from hiding and started killing walkers. He even got to do a badass slow motion weapon toss to Michonne. Eventually, if The Walking Dead is to have any integrity, Rick and every other major character, no matter how popular or important, is going to have to die. But tonight was not that night.
(Of course, next week’s season finale episode is called “Bury Me Here,” so it sounds like someone will be leaving us…)
Tonight’s episode was almost totally devoted to Rick and Michonne and, after all the darkness of the past few episodes, it was nice to see them actually enjoying themselves. As much as I dread seeing Rick smile, I kind of enjoy it too. Since Rick tends to carry the weight of the world on his soldiers, it was nice to see that he actually can get some sort of pleasure out of his violent existence. The fighting, smiling, and lustful Rick that we saw tonight was a nice change from the neutered and whiny Rick who we had to deal with during the first half of the season. This is the Rick that we want to see!
(On twitter, I suggested that another reason why Rick was so happy was because, for once, he didn’t have to deal with one-eyed Carl standing in the background and making him feel guilty. Some people apparently did not appreciate my theory, which leads me to wonder when we all suddenly decided that we liked Carl again.)
Tonight, Rick and Michonne were not the only people looking for guns. Rosita also went searching but could only find one cap gun and a walker with a double chin. Father Gabriel, of course, used this as an excuse to lecture her about hate and violence but you know what? Shut up, Father Gabriel. How and why are you even still alive at this point? I don’t blame Rosita for being mad and I don’t blame her for wanting to take action. And if Rosita’s plan to kill Negan is running the risk of ruining Rick’s plans — well, that’s probably a good thing. Rick’s plans never work. Ask Herschel how well Rick’s plans work. Ask Glenn. Ask Abraham.
(Checking on twitter, I see that I’m kind of alone as far as my sympathy for Rosita is concerned. It’s interesting how the people who are continually upset when Daryl doesn’t automatically kill everyone that he meets are apparently the same people upset about Rosita having “an attitude.” Whatever, people.)
Anyway, this was a pretty good episode. As much as I may bitch about Rick as a leader, I was happy to see him actually get a chance to enjoy himself without the world automatically ending. Michonne, who has been underused lately, finally got a chance to remind the viewers of what a badass she truly is. The moment when she thought Rick was dead was a moment of great acting from Danai Gurira.
As for next week’s episode, it’s getting close to the season finale! Who will live? Who will die? (Eugene, probably. And, hopefully, sanctimonious Father Gabriel.) We’ll find out next week!
(CORRECTION: Due to my notoriously short attention span, an earlier version of this post incorrectly stated that next week was the season finale. I apologize for the error. — LMB)
It’s a new show about serial killers and the people who study them, hunt them, and hopefully capture them. It’ll be like Criminal Minds, though it’ll probably feature more profanity and nudity and less Thomas Gibson-involved physical assaults.
This show was produced by David Fincher so you know every film blogger is going to have to watch at least one episode.
Through the Shattered Lens 