Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989. The entire show can be purchased on Prime!
Crockett gets married! Huh?
Episode 4.8 “Like a Hurricane”
(Dir by Colin Bucksey, originally aired on November 20th, 1987)
Crockett is upset when he’s assigned to serve as a bodyguard to singer Caitlin Davies (Sheena Easton). Caitlin is a witness to the criminal activity of music industry executive Tommy Lowell (Xander Berkeley) and the Vice Squad is worried that he might send someone to kill her. Crockett doesn’t have much use for celebrities and Caitlin doesn’t have much use for a cop continually telling her what to do. But after Crockett saves Caitlin’s life multiple times, they fall in love and the episode ends with Crockett and Caitlin getting married.
Wow, Crockett got married!
I mean, is Caitlin going to live on his boat? Is the crocodile going to be okay with this? For that matter, wouldn’t the fact that he just married a celebrity make it difficult for Crockett to continue his undercover work as Sonny Burnett? I mean, I imagine there was a lot of press coverage of the marriage. Caitlin, we’re told, is a pretty big deal.
Honestly, Crockett getting married should have been a big moment but this episode just fell flat. The main problem is that Don Johnson and Sheena Easton didn’t have much romantic chemistry so their sudden love for each felt as if it came out of nowhere. Sonny getting married that quickly seemed a bit out-of-character for him. This episode, like much of season 4, felt like it was mostly the result of the writers grasping at straws to find something new to do with the show. Last week, Trudy got kidnapped by aliens. This week, Crockett got married. Maybe next week, Tubbs will take on the Yakuza. Who knows? At this point, it all feels random.
We’ll see what happens. For now, here’s Sheena Easton performing one of my favorite Bond songs.
DONATO AND DAUGHTER tells the story of Los Angeles Police detectives, Mike Donato (Charles Bronson), and his daughter Dena Donato (Dana Delany). The two have a strained relationship mainly due to the mysterious death of Dena’s brother, Tommy, and Mike’s unwillingness to discuss the circumstances surrounding his death with her. When a serial killer (Xander Berkeley) begins targeting nuns, brutally raping and murdering them, Dena is asked to lead a task force to catch the killer. Her supervisor not-so-subtly requires that she include her father, a tough-as-nails and experienced cop, as part of the team. The remainder of the story focuses on two elements: 1) The investigation as it closes in on the extremely dangerous serial killer and 2) The family drama as Mike and Dena deal with their relationship issues. The two worlds eventually collide when the killer goes after Dena!
While he did work on a couple of theatrical films in the 1990’s, like Sean Penn’s THE INDIAN RUNNER (1991) and DEATH WISH 5: THE FACE OF DEATH (1994), Charles Bronson spent most of the decade making made-for-TV movies. Of course, as his biggest fan, I would always watch the movies on the night they premiered on TV, with THE SEA WOLF (1993) being the only exception as we didn’t have cable TV in Toad Suck. That means on September 21st, 1993, I was glued to my television set as the latest Charles Bronson film, DONATO AND DAUGHTER, premiered to a national TV audience on CBS. I specifically remember the network running warnings due to the disturbing and violent content of the movie. I also remember enjoying that first viewing, and I still enjoy the film to this day.
Even though he was in his early 70’s at the time, Charles Bronson still looked great in DONATO AND DAUGHTER. He gives a strong performance as both the cop trying to catch the killer and as the dad who doesn’t know how to open up to his successful, adult daughter who needs him more than he can comprehend. Dana Delany is an excellent actress, and she is able to balance her character’s determination to be the best cop possible to “show her dad,” with the vulnerability of a daughter who just needs to know he loves her. Their relationship has to work for the movie to work, and I think they both do a great job. The other standout performance in the film belongs to Xander Berkeley. His portrayal of a husband and businessman, who also happens to be a vicious serial killer, is truly creepy and gives the movie a disturbing edge. On a side note, Berkeley’s “wife” in the film is played by actress Kim Weeks. She and Charles Bronson would get married in 1998, and they would be together until his death in 2003.
Overall, I think DONATO AND DAUGHTER is well worth watching as both a cop thriller and a family drama, although I do think the thriller elements work the best. It’s not the most groundbreaking or original story you’ll ever see, but the film is elevated greatly by the iconic presence of Charles Bronson and the strong performances by Dana Delany and Xander Berkeley. I give it a solid recommendation! The trailer is included below:
Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked. Sometimes, it’s because the competition too fierce. Sometimes, it’s because the film itself was too controversial. Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released. This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked. These are the Unnominated.
First released in 1995, Heat is one of the most influential and best-known films of the past 30 years. It also received absolutely zero Oscar nominations.
Maybe we shouldn’t be too surprised that Academy — especially the Academy of the 1990s — didn’t shower the film with nominations. For all of its many strengths, Heat is still a genre piece, an epic three-hour crime film from director Michael Mann. It’s a film about obsessive cops and tightly-wound crooks and it’s based on a made-for-TV movie that Mann directed in the late 80s. While the Academy had given a best picture nomination to The Fugitive just two years before, it still hadn’t fully come around to honoring genre films.
And yet one would think that the film could have at least picked up a nomination for its editing or maybe the sound design that helps to make the film’s signature 8-minute gun battle so unforgettable. (Heat is a film that leaves you feeling as if you’re trapped in the middle of its gunfights, running for cover while the cops and the crooks fire on each other.) The screenplay, featuring the scene where Al Pacino’s intense detective sits down for coffee with Robert De Niro’s career crook, also went unnominated.
Al Pacino was not nominated for playing Vincent Hanna and maybe we shouldn’t be too surprised at that. Pacino yells a lot in this movie. When people talk about Pacino having a reputation for bellowing his lines like a madman, they’re usually thinking about the scene where he confronts a weaselly executive (Hank Azaria) about the affair that he’s having with Charlene (Ashley Judd), the wife of criminal Chris Shiherlis (Val Kilmer). And yet, I think that Pacino’s performance works in the context of the film and it’s often forgotten that Pacino has quite scenes in Heat as well. Pacino’s intensity provides a contrast to Robert De Niro’s tightly controlled career criminal, Neil McCauley. McCauley has done time in prison and he has no intention of ever going back. But, as he admits during the famous diner scene, being a criminal is the only thing that he knows how to do and it’s also the only thing that he wants to do. (“The action is the juice,” Tom Sizemore says in another scene.) If any two actors deserved a joint Oscar nomination it was Pacino and De Niro. In Heat, they’re the perfect team. Pacino’s flamboyance and De Niro’s tightly-controlled emotions come together to form the heart of the picture.
No one from the film’s supporting cast was nominated either, despite there being a wealth of riches to choose from. Ashley Judd and Val Kilmer come to mind as obvious contenders. Kilmer is amazing in the shoot-out that occurs two hours into the film. Ashley Judd has a killer scene where she helps her husband escape from the police. Beyond Judd and Kilmer, I like the quiet menace of Tom Sizemore’s Michael Cheritto. (Just check out the look he gives to an onlooker who is getting a little bit too curious.) Kevin Gage’s sociopathic Waingro is one of the most loathsome characters to ever show up in a movie. William Fichtner, Jon Voight, Danny Trejo, and Tom Noonan all make a definite impression and add to Michael Mann’s portrait of the Los Angeles underworld. In an early role, Natalie Portman plays Hanna’s neglected stepdaughter and even Amy Brenneman has some good moments as Neil’s unsuspecting girlfriend, the one who Neil claims to be prepared to abandon if he sees “the heat coming.”
I have to mention the performance of Dennis Haysbert as Don Breedan, a man who has just been released from prison and who finds himself working as a cook in a diner. (The owner of the diner is played by Bud Cort.) Haysbert doesn’t have many scenes but he gives a poignant performance as a man struggling not to fall back into his old life of crime and what eventually happens to him still packs an emotional punch. For much of the film’s running time, he’s on the fringes of the story. It’s only by chance that he finds himself suddenly and briefly thrown into the middle of the action.
Heat is the ultimate Michael Mann film, a 3-hour crime epic that is full of amazing action sequences, powerful performances, and a moody atmosphere that leaves the viewer with no doubt that the film is actually about a lot more than just a bunch of crooks and the cops who try to stop them. Hanna and McCauley both live by their own code and are equally obsessed with their work. Their showdown is inevitable and, as directed by Michael Mann, it takes on almost mythological grandeur. The film is a portrait of uncertainty and fear in Los Angeles but it’s also a portrait of two men destined to confront each other. They’re both the best at what they do and, as a result, only one can remain alive at the end of the film.
I rewatched Heat yesterday and I was amazed at how well the film holds up. It’s one of the best-paced three-hour films that I’ve ever seen and that epic gunfight is still powerful and frightening to watch. Like Martin Scorsese’s Casino, it was a 1995 film that deserved more Oscar attention than it received.
Heat (1995, dir by Michael Mann, DP: Dante Spinotti)
In Reagan, Dennis Quaid stars at the 40th President of the United States.
Framed as a story being told by a former KGB agent (Jon Voight) who is attempting to make a younger politician understand why Russia lost the Cold War, Reagan starts with Reagan’s childhood, includes his time as an actor and as the anti-communist head of the SAG, and then gets into his political career. Along the way, several familiar faces pop up. Robert Davi plays a thuggish Russian leader. Mena Suvari plays Reagan’s first wife while Penelope Ann Miller plays his second. Xander Berekely plays George Schultz (who was just previously played by Sam Waterston in The Dropout miniseries.) C. Thomas Howell, Kevin Dillon, Dan Lauria, and Lesley-Anne Down all have small but important roles. And the usual suspects when it comes to conservative filmmaking — Nick Searcy, Kevin Sorbo, and Pat Boone — are there to compliment Voight and Davi. I was a little surprised to see that Dean Cain was not present.
As usually happens to films that feature sympathetic Republicans, Reagan was slammed by critic but better-appreciated by the audience for which the film was made. I wasn’t particularly surprised. Movie critics tend to be liberal and Reagan is very much not that. For a professional film critic, a film like Reagan must be met with snark and derision because otherwise, one would risk cancellation. Don’t get me wrong. I’m not saying that there aren’t things to criticize about Reagan the film. I’m just saying that one should always keep in mind that critics have their own individual biases. One reason why the Rotten Tomatoes score is such an unfortunate development is because it ignores the fact that most films have things that work and things that don’t work and that quality is often in the eye of the beholder. Instead, it just tells us that a film is either a 90% or a 10%.
As for Reagan, it’s definitely a bit on the heavy-handed side but, then again, I think the same can be said for just about every political film that’s come out over the last few decades. For those who claim Reagan is somehow more heavy-handed than most, I invite them to sit through Rob Reiner’s LBJ. Indeed, the only director who has really shown a willingness to admit that a President can be both good and bad was Oliver Stone and when was the last time anyone watched Nixon? Reagan is at its weakness when it tries to recreate Reagan’s time as an actor. Dennis Quaid gives a good and charming performance throughout the film but he’s also 70 years old and, in the scenes where he plays the youngish Ronald Reagan, all of the soft-lighting and Vaseline on the lens ends up making him look like a wax figure. Once Reagan gets older, Quaid is allowed to act his age and both he and the film become much more convincing. I enjoyed the film once Reagan became President, though you should understand that I have biases of my own. I’m a fan of low taxes and individual freedom, which is why I’m also not a fan of communism or, for that matter, any extreme ideology that attempts to tell people how to live or think. “Tear down this wall!” Regan says while standing in front of the Berlin Wall and it’s a rousing moment, both in reality and on film.
In the end, Reagan is a film that will be best appreciated by people who already like Ronald Reagan. Yes, the film is heavy-handed and the framing device is a bit awkward. But Dennis Quaid’s heartfelt (and, towards the end, heartbreaking) performance carries the film. The film is not at all subtle but you know what? I’ve seen a countless number of mediocre films that have portrayed Reagan negatively, often with as little nuance and just as heavy-handed an approach as Reagan uses in its positive portrayal of the man. I sat through The Butler, for God’s sake. There’s nothing wrong with having a film that looks at the man from the other side. Those who like Ronald Reagan will feel vindicated. Those who don’t will say, “What was up with that Pat Boone scene?”
Just for the hell of it, I went on a little Robert Duvall marathon for his birthday on January 5th. I started the marathon off with his superior western with Kevin Costner, OPEN RANGE (2003). Next up was Duvall’s excellent crime film with Joe Don Baker and Robert Ryan, THE OUTFIT (1973). Duvall was in badass mode in this one. Based on one of Richard Stark’s “Parker” books, this was my first time to watch the film and damn, it was excellent. After that, I watched the bleak THE ROAD (2009), starring Viggo Mortensen, where Duvall just had a small part. It was a downer. I finished off the marathon late in the evening with A FAMILY THING (1996). I remember when this movie came out in the 1990’s because it was co-written by Billy Bob Thornton. Thornton was still a year away from his massive success with the movie SLING BLADE, but I knew him from his writing and co-starring in the superior crime film ONE FALSE MOVE (1991), as well as his small role in TOMBSTONE (1993). As an Arkansan, I knew Thornton was from Arkansas so I had taken a particular interest in him. But I was only 22 years old when A FAMILY THING was released, and a movie about a couple of old guys resolving family issues didn’t seem that appealing to me. As a guy into his 50’s, the entire concept seems more interesting to me now, so I gave it a spin for the first time to close out the marathon.
The story opens up in rural Arkansas with Earl Pilcher Jr. (Robert Duvall) getting the shock of his life when his beloved mother writes a final letter to him and instructs her local pastor to deliver it a few days after her death. The letter tells Earl that his biological mother was a black woman named Willa Mae who died in childbirth. It seems that Earl’s dad had gotten Willa Mae pregnant, and since he came out white, his “mother” was able to raise him as her own without having to tell him the truth. The letter also tells him that he has a half-brother named Ray Murdock (James Earl Jones) living in Chicago. It’s her dying wish that he meet Ray and get to know him as family. Pissed at his dad, and wanting to honor his mom, Earl heads to Chicago to meet Ray. Earl knows that Ray is a cop so he’s able to track him down. They immediately don’t like each other, but through a variety of circumstances, Earl ends up staying at Ray’s house for a couple of days. While there, he meets Ray’s wise, old Aunt T., Willa Mae’s sister (Irma P. Hall) and his sullen son Virgil (Michael Beach). Will the two men continue to push each other away, or will they eventually find the family connection that exists under all that messy past?
I was surprised how deeply I was affected by A FAMILY THING. I’d be lying if I said I didn’t get teary-eyed a couple of times. The movie may use issues of adultery and racism to get the ball rolling, but more than anything else, it seems to understand that life is messy and that people are messy. We’ll disappoint ourselves, we’ll disappoint other people, and other people will disappoint us. There’s a reason that many people find their love in dogs and cats instead of people, because real relationships can be tough. The truth about my own life is that I could not have appreciated this film in 1996 at only 22 years of age. I was too naive. That’s no longer the case in 2025, and I can now truly relate to this story of two men who share a painful history, find common ground, and decide it’s worth moving forward together because family really does matter.
A movie like A FAMILY THING has no chance of working without a great cast, and this movie is a thespian jackpot. Robert Duvall is spot on perfect as the good ole guy from Arkansas, with a little bit of a racism engrained down deep into his soul, who now has to deal with the fact that he is half black. The scene where he confronts his dad about the lies that had been told to him all his life is as good as it gets. James Earl Jones matches Duvall in the even trickier role as the man who has always known about his “white” half brother Earl. This man has buried his hatred away for Earl’s father for decades, who he blames for the death of his own mother, and now has to deal with those feelings being dredged back up to the surface when Earl shows up in Chicago. Jones perfectly balances his character’s desire to keep the past in the past, with his decency as a man who doesn’t want to just throw Earl out on the street. He eventually softens towards him no matter how much bitterness he has for Earl’s dad. And neither Duvall or Jones even give the best performance in the film. That honor goes to Irma P. Hall as the blind, but extremely perceptive Aunt T. She sees through all of their bullshit, as she states to each of them on different occasions, and encourages them to get to know each other because they’re family. As they play games of racism and bitterness, she reminds them they are brothers no matter the color of their skin. It’s the performance of a lifetime and was at least worthy of an Oscar nomination in my opinion.
Overall, A FAMILY THING may compress the amount of time and potential therapy it would take to resolve the type of family history presented here, but it does find a certain truth in the power of relationships. Earl and Ray don’t have to recognize the fact that they are brothers. As a matter of fact their lives are just fine without each other. But it’s their willingness to embrace the messy truth and find a way to connect with each other that makes the movie meaningful to me!
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Thursdays, I will be reviewing Dr. Paradise, which aired on CBS in 1988. The entire show is currently streaming on YouTube!
This week, Frank Langella sets himself up as the ruler of a tropical island!
Episode 1.1 “The Pilot”
(Dir by Peter Baldwin, originally aired on July 12th, 1988)
Who is Dr. Paradise?
Why, he’s Frank Langella!
Langella plays Dr. Paradise, a haughty and sarcastic man who owns a health clinic that is located on a small tropical island. Dr. Paradise also owns the local casino so visitors at the island will often lose all of their money at night and then come to the clinic during the day. As this episode is only 22 minutes long and there’s a whole host of other characters to introduce, we don’t learn as much about Dr. Paradise as we might want to. We know that he’s rich. We know that doors magically swoosh open whenever he approaches. During the opening credits, we watch the staff throw darts at his portrait, just for Dr. Paradise to reveal that he always has an extra portrait with him. He’s arrogant and egocentric and I get the feeling that we’re supposed to dislike his lavish lifestyle but he’s Frank Langella so it feels churlish to take away his joy.
As for the rest of the staff at the hospital …. well, none of them are as interesting as Dr. Paradise and I found myself resenting them for that fact.
Dr. Noah Fredericks (Xander Berkeley) is the psychiatrist who is clearly meant to be a stoner, even if the show couldn’t actually come right out and say it. But with his deadpan way of speaking and his red eyes, there’s not much doubt that Dr. Fredericks was high for the entire episode. I don’t blame him.
Dr. Philip Moore (Hiram Kasten) is desperately looking for someone to play golf with him.
Dr. Amy Hunter (Sally Kellerman) is the ethical doctor who disagrees with Dr. Paradise’s methods but who seems to secretly kind of like him as well.
Dr. Casey Hunter (Tommy Hinkley) is Amy’s whiney son who appears to have a gambling problem. At one point, it is mentioned that he dropped out of a top medical school so that he could become a chiropractor. As someone who has recently had to deal with neck and back pain, I support his choice.
Hilary (Beverly Brown) is a native of the island and works as the office manager. She has no personality beyond saying, “Dr. Paradise” in an exaggerated island accent.
The pilot centers around the character of Newton Hobbs (played by future Congressional candidate Barry Gordon), a wealthy but neurotic man who spends a lot of money at Dr. Paradise’s casino. Newton comes to the clinic for his weekly session with Dr. Fredericks but, when Dr. Paradise insults him, Newton snaps and draws a gun. He holds everyone hostage for a few minutes, until another patient has a heart attack from the stress. Dr. Paradise saves the man from dying, establishing that he’s a jerk who is good at his job. As for Newton …. NOTHING HAPPENS TO HIM! It turns out that it was all apart of his therapy plan with Dr. Fredericks and the gun was not even loaded.
Hey, that’s all good and well. WHAT IF THE MAN WHO HAD A HEART ATTACK DIED, YOU IDIOTS!?
Meanwhile, Casey’s parrot talks to a cat while Casey’s at the office. That should have been cute but …. eh.
Only one episode of Dr. Paradise aired. This pilot did not become a series and it’s easy to see why. For all the talent — Sally Kellerman, Barry Gordon, Xander Berkeley, the great Frank Langella — the dialogue isn’t funny and the situations aren’t that interesting. It’s a shame because Frank Langella’s performance indicates that he could have been an enjoyably over-the-top sitcom actor. But even the best actors need a decent script.
No, no. You’re thinking of the wrong Guardian, my imaginary friend. This Guardian is from 1990 and it’s the killer tree film that was directed by William Friedkin.
“William Friedkin directed a killer tree film?”
Apparently so.
“What’s it about?”
It’s kind of hard to say. Camilla (Jenny Seagrove) is hired as a nanny and proceeds to not only claim the baby as her own but also tries to seduce the baby’s father away from his wife.
“I think it’s cute the way that you always mention the actor’s name is parenthesis….”
Well, that’s what we’re taught to do. But back to The Guardian. The Guardian could also be a movie about a druid who steals babies so that she can sacrifice them to a tree God.
“You mean like that big talking tree from the from Lord of the Rings?”
I guess. Or maybe Camilla is a reincarnation of Lillith, the demon who kidnaps babies in the night.
“Poor Lillith, so misunderstood.”
Or maybe Camilla is a witch who can make wolves and tress do her bidding!
I try to keep my actual cursing to minimum. That way, it means something.
“That’s sweet.”
Whatever. Back to The Guardian! It’s also possible that Camilla actually is a tree that’s come to life and is now doing evil tree stuff!
“So, what you’re saying is that the film is unclear about just what exactly Camilla’s deal is?”
That’s it, exactly! The Guardian is a notorious mess and it’s probably significant that this is one of two films that William Friedkin doesn’t even acknowledge in his otherwise tell-all autobiography, Friedkin Confidential. Reportedly, there were problems on the set. From what little I’ve found online, it would appear that Friedkin originally wanted the movie to be about a mentally deranged woman who thought she was a druid. But the producers wanted a horror film about a woman who actually was a druid. Somehow, this eventually led to The Guardian becoming a movie about a woman who is actually a tree. What’s funny is that the film itself feels like a typical crazy nanny Lifetime film, up until the moment that one of Camilla’s employers attempts to take a chainsaw to that tree.
“Trees don’t like chainsaws.”
Yeah, no joke. Anyway, before all that happens, Camilla is killing people left and right but yet no one seems to notice. She doesn’t make any secret of the fact that she’s trying to seduce Phil (Dwier Brown) but Phil’s wife, Kate (Carey Lowell), doesn’t seem to care. Instead, Phil and Kate attempt to set Camilla up with their friend, goofy Ned (Brad Hall). It doesn’t take long for Ned to get devoured by a bunch of wolves. That’s what happens when you walk in on a druid nanny turning into a tree, I guess.
“Isn’t Brad Hall married to Julia Louis-Dreyfus?”
Indeed, he is! And you don’t see him in any movies nowadays so I guess getting eaten by wolves was kind of the last straw. But the movie gets even weirder! There’s also an odd scene in which three gang members just happen to be walking through the woods when they come across Camilla and the baby. They kind of pop up out of nowhere and they immediately turn out to be some pretty bad guys. Luckily, a tree pops up and kills the all. Is the tree Camilla or is the tree someone else? Who knows?
“Gang members in the woods? You mean like in Friday the 13th Part 3?”
Strangely enough, yes. Even stranger is the fact that no one notices anything strange about Camilla. To be honest, there are times that Camilla might as well be wearing a sign that reads, “Druid” but no one seems to notice. Then again, it’s debatable whether or not she was actually a druid. She might actually be a tree and I guess it’s understandable that something like that wouldn’t naturally occur to anyone. I mean, I think we’ve all probably met a druid or two but someone who is actually a tree? Well, that’s unusual.
“Very unusual!”
Anyway, The Guardian is a messy film and I’m afraid that I’m probably making it sound more fun than it actually is. If you do watch it, please be sure to chime in with your thoughts on whether or not Camilla is actually a tree. I look forward to hearing your opinion!
SPOILER ALERT! DO NOT READ THIS REVIEW UNLESS YOU’VE WATCHED THE LATEST EPISODE OF THE WALKING DEAD! SERIOUSLY, I’M NOT KIDDING!
Right now, I would say that 75% of The Walking Dead fandom is heartbroken. The end of tonight’s episode has generated some very real angst among some people.
As for me, I’m actually feeling rather proud of myself because I predicted that all this would happen. I predicted it way back on November 5th and I’ve even got the tweet to prove it. But, before I go on, I think it might be good to consider the words of a song from 1965. Here are the Poets with That’s Way It’s Got To Be:
See, it all gets back to what has always been the underlying theme of The Walking Dead. Nobody is going to get out of this show alive. It doesn’t matter how good you are. It doesn’t matter how likable you are. It doesn’t matter how much the audience loves you. Everyone on this show is eventually going to die. The only question is whether someone will be around to keep them from reanimating afterward. Negan, Rick, Maggie, Carol, Daryl, Michonne, Eugene … none of them are going to get out of this alive. Death will come for everyone eventually and tonight, it appears that it’s coming for Carl.
As I tweeted on November 5th…
I don't think they have much choice but to kill Carl off on #TheWalkingDead. Chandler Riggs is aging faster than the show's storyline.
Tonight’s episode featured a lot of Carl. When Negan and the Saviors showed up at Alexandria and demanded that Rick be given to them, Carl is the one who offered to sacrifice his life so that the rest could live. (And, of course, we now know why Carl was willing to do that. He literally had nothing to lose.) When the Saviors were blowing up Alexandria, we watched as Carl made his way through the flaming wreckage of his former home. Throughout the show, we got flashbacks of Carl arguing with Rick about Rick’s harsh philosophy. Tonight, we saw more of Carl then we’ve seen in a while and I spent the whole show assuming that meant that Carl was probably not going to come to a good end…
But still, it’s hard to overstate the emotional impact of seeing Carl there at the end, bitten by a walker and fighting to breathe. As Chris Hardwick and Khary Payton stated at the start of Talking Dead, Chandler Riggs really did grow up over the past few seasons of The Walking Dead. It’s always kind of been easy to make jokes at Carl’s expense. Early on in the show, it always seemed inevitable that he would end up getting lost or picked up the by the wrong people. Whenever I live tweeted those early seasons of The Walking Dead, I almost always suggested that the ideal solution to almost any problem would be to sacrifice Carl. But tonight, Chandler Riggs showed why Carl has become a favorite of many fans of this show. The episode ended with Carl still alive but fading. Will he die? I really don’t see how he can’t. He’s been bitten on his side so it’s not like they can just chop off a limb, like they did with Herschel. If the show is to have any integrity, Carl has to die and he will be missed.
Up until that final scene with Carl, tonight’s episode could have just as easily been called “Everyone Better Do What Rick Says.” Darryl took it upon himself to crash that truck into wall of the Sanctuary, which is actually what Rick did not want him to do. As a result, the Saviors escaped, were able to launch a counter attack, destroy Alexandria, and take over The Kingdom. Carl, meanwhile, went off on his own, helped out Siddiq, and ended up getting bitten for his trouble. From now on, everyone better listen to Rick.
Rick got the line of the night when he asked Negan, “Don’t you ever shut the Hell up?” That’s something that I’ve been wondering for a season and a half now. Tonight, Negan actually lived up to his fearsome reputation. As for the other Saviors, Simon made me say, “Oh God, this fucking guy again…” as soon as he got out of that truck and Gavin came across like a teacher trying to control an unruly classroom. I guess Dwight is officially a part of Rick’s group now.
This was sometimes a hard episode to watch, not because it was bad but because it literally took place in the dark. All of the action played out at night and the show actually did good job of using the darkness to its advantage. There was an eerie and horrible beauty to scenes of Alexandria burning to the ground.
But you know what?
In the end, all anyone is going to remember about this episode is that final scene with Carl.
That’s the way it’s got to be.
And with that, The Walking Dead is on hiatus. Season 8 will resume in 2018 and so will our coverage!
Oh, the world of The Walking Dead. The more things change, the more they stay the same.
This season started with everyone finally standing up to the Saviors. For once, Rick and his allies had Negan on the run and, regardless of what you think about season 8 overall, it was certainly satisfying to see the Saviors starting to get a little desperate. Personally, I don’t think it was necessary to devote five episodes to just one battle but the Saviors are such a loathsome group of people that it’s definitely enjoyable to watch them get their asses kicked.
However, even with Rick and his allies declaring full out war, I knew that the action would eventually have to be interrupted by an episode of mourning. Every season of The Walking Dead has at least one episode where everyone looks depressed and either thinks about a lost loved one or obsesses on whether or not there’s room for kindness and compassion in a post-apocalyptic world. When the series started, the mourning episodes were a part of what set The Walking Dead apart from other shows. (Remember when kindly old Dale Horvath was gruesomely attacked by a zombie?) But, eight seasons in, it’s become a bit predictable. Any episode where something big happens is going to be followed by an episode where not much happens at all.
“The King, The Widow, and Rick” is a mourning episode. Everyone has returned from attacking the Saviors and now, with no bullets flying and several minor characters dead (and SHIVA! I’m still sad about that…), it’s time to sit around and reflect. This time, a bit more happened during the reflecting than has happened in previous mourning episodes. Even if this episode still felt like it stretched things out a bit too much, it wasn’t quite as slow as some of the episodes that aired during season 7.
This episode opened like a Ken Burns documentary, with everyone reading letters about the war against the Saviors. It ended with Rick naked and locked up in a shipping container and I was definitely okay with that. Don’t get me wrong about this. I do like Rick but occasionally, there is an arrogance to him that just strikes me the wrong way. He’s a lot like Lost‘s Jack Shepherd. He gives a good speech. He is trying to do the right thing, even if he sometimes resents having to be the leader. But Rick is always so sure of his ability to sway everyone over to his side that it was somewhat satisfying to see the Trash People respond to his latest speech by shrugging their shoulders and then locking him up. I’m not sure why Rick felt the need to, once again, go over to the garbage dump. The attack on the Saviors was a success without the help of the Trash People. My theory is that Rick just can’t accept that not everyone wants to be a part of his alliance.
Meanwhile, at Hilltop, we had another one of those patented Walking Dead debates about whether or not people can survive the end of the world without losing their humanity. Jesus was going out of his way to treat the Savior prisoners humanely. Gregory said the prisoners should be executed. Maggie responded by tossing Gregory in with the prisoners and then saying she would keep them alive so that they could be used for prisoner exchanges in the future. Jesus said he was happy with her decision and … you know what? I like Tom Payne’s performance as the character but I feel like an idiot whenever I call that guy Jesus. Yes, he has a beard. Yes, he’s kind. BUT HIS NAME IS PAUL! The whole “They call you Jesus” thing is so heavy-handed and kinda stupid. Last night, one of the saviors said, “Well, Jesus, I’m no angel,” and I’m glad I didn’t have anything nearby to throw at the TV when he said it.
Anyway, I could have done without all the debate about how to treat the prisoners. We all know that they’re going to end up dead, regardless. The only prisoner that Negan might exchange would be Father Gabriel and, honestly, is getting Gabriel back worth the trouble? Maggie should have just listened to Gregory.
Ezekiel was depressed, as well he should be. SHIVA’S DEAD, DAMMIT! Carol told him to stop feeling sorry for himself and to lead his people. The best part of Ezekiel’s subplot was that Jerry was still standing guard, even though Ezekiel told him to go home.
Carl is apparently not dead. Or, at least, he’s not dead, yet. Instead, he ran off and spent some time hanging out with Siddiq, the man who Rick previously chased away. They killed some walkers and bonded over shared pain.
And, of course, Rosita used a rocket launcher to blow up a savior. That made me cheer. Maybe Maggie should step down and let Rosita lead the Hilltop Colony. There certainly wouldn’t be any debate about what to do with prisoners then! However, for now, Rosita, Michonne, Daryl, and Tara are just doing their own thing. Rick probably wouldn’t approve but Rick’s in a shipping container right now.
Anyway, this wasn’t a bad episode. It may have been a mourning episode but at least it wasn’t just Rick sitting around in a catatonic state while Negan circled around him, giving a speech. That’s the important thing.
Could it be that I just watched a Negan-centric episode of The Walking Dead that wasn’t terrible?
It’s true! I’ll admit that I rolled my eyes a bit when I saw that tonight’s episode was going to be about Negan and the Saviors. Last season, though there were a few exceptions (particularly the episode where Eugene was first taken to the Sanctuary), the Savior episodes were my least favorite. But tonight’s episode was actually pretty good.
That doesn’t mean that it was great, of course. To be honest, I’m not totally sure that you could ever have a truly great Savior episode. Whenever I watch the Saviors, I always find myself thinking about The Others on Lost. One reason why the Others were such a fascinating group was because they weren’t just one-dimensional villains. Whenever one of the Others would say something like, “We’re the good guys,” you could actually see their point. There’s never been that type of ambiguity when it comes to the Saviors. Negan is an asshole. He has chosen to surround himself with other assholes. They were all probably assholes before the zombie apocalypse and they’ll continue to be assholes until Sanctuary is eventually overrun by walkers.
With all that in mind though, this was still a pretty good episode. If nothing else, this episode made it a little bit clearer why people started following Negan in the first place. Even when Negan was trapped in the trailer with Father Gabriel, he did not allow himself to show any fear. Instead, he was actually able to persuade Gabriel to make a run with him for the Sanctuary. Even his confession to Gabriel about his first wife mostly served to reveal that Negan is a master manipulator. He shared just enough to keep Gabriel intrigued. After spending almost all of previous season bellowing, Jeffrey Dean Morgan dialed things back just enough to make Negan interesting again. For that matter, tonight’s episode finally gave Seth Gilliam to show what he’s capable of when he’s actually given a decent line or two.
In the trailer, Negan told Gabriel that the Saviors would undoubtedly end up killing each other if they thought he was dead. That may have sounded arrogant at the time but it quickly turned out that Negan was correct. I think that’s also going to be the Saviors’s downfall. By literally setting himself up as the strongest man in the Sanctuary, Negan has also ensured that the Saviors are lost without his presence and direction. While all of his lieutenants may go out of their way to imitate Negan’s style, none of them have his leadership skills. It doesn’t matter how much Simon and Regina insist otherwise. They may say “I am Negan,” but everyone know that they’re not. That said, Negan’s sudden appearance after everyone had assumed he was dead will probably leave him in an even more powerful position. All messiahs return from the dead and Negan even returned with a man of God!
As for the rest of the episode, I didn’t really get the whole point of Rick/Darryl fight. (It did, of course, remind us of the difference between Rick and Negan. Rick forgave Darryl, something Negan would view as being a sign of weakness.) Josh McDermitt is obviously having a blast as Eugene. Eugene may be a traitor but McDermitt’s performance still makes me smile every week. And then there was weaselly Gregory, of course. I think we’re all ready to see a bunch of walkers pounce on Gregory.
As I watched tonight’s episode, I found myself making a few more predictions about the rest of season 8:
There’s no way that Gabriel is still going to be alive at the end of this season. He is so being set up for martyrdom.
If they get Dr. Carter back to Hilltop, does that mean that Maggie will finally have her baby?
Judging from the flashback/flashforward structure of this season (and the fact that they’re going to have to explain why Carl no longer looks like he’s 13 years old), I’m going to guess that there will be a considerable time jump between season 8 and season 9. Either that or Zombie Carl’s going to show at some point soon…
Through the Shattered Lens 