The TWD spin-off is back for another season with new cast members (three kids), new villains (led by "Max Headroom") and, soon, another "crossover" character from the original series (Dwight). We also see a helicopter with the same markings as the one which abducted Rick. Oh, and Daniel Salazar is back.

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Morgan is the only part of the show I still enjoy. KIll Victor! Kill him! KILLLLLLL HIMMMMMMM!

OK, here we go. Gonna watch all the FTWD I haven't yet before the season finale. I will type as I go, live-tweet style.

"Ner Tamid"

Charlie is hiding in a car and a two-fisted rabbi, who is very short, saves her.

Why are Our Heroes looking for a permanent place, and why is Charlie running off to look for one, when they've passed on at least two great places so far this season alone? Oh, wait, this is a stupid show. Stop asking logical questions.

Oh, look, a five-foot rabbi has no problem killing walkers and living a life in the zombie apocalypse while lighting a permanent flame and ringing bells and otherwise attracting them. Because, you know, religion. Also, there's really no danger here.

Then there is faux-dramatic dialogue.

But wait, a revelation! He's not religious! It's a pose! Clever, except the dead are still trying to eat him!

He's just attracting walkers because ... um. I don't know. Writers? And Charlie likes this. Because Charlie is not a character, she is a writer construct. Charlie never makes any sense.

John and June are there, too, but separated from the others somehow. They decide to get from Point A to Point B via one of the dumbest things I've ever seen. It involves ladders, and Glenn did it in the first season of The Walking Dead because it was in the comics, and it wasn't specifically dangerous, only potentially dangerous. John and June do it, when it is almost certainly lethal, because ... um, writers?

Anyway, it doesn't work, duh, and they get killed. No, wait, they just get stranded in a sea of walkers on top of a car, and none of the walkers climb on the car they're on and eat them, because walkers never do that. Oh, wait! We've seen them do that! But right now they're not going to, because ... um, writers?

Then the two-fisted rabbi blows a Jewish Horn. Do all synagogues have a Jewish Horn? I don't know, because I'm not Jewish. But I suspect not. And what is a Jewish Horn, anyhow? It looks like something from Vikings. Anyhow, he's got one, and he blows it, and EVERY SINGLE WALKER FOLLOWS THE NOISE. Despite all that, you know, living meat right in front of them on that car. They prefer the Jewish Horn.

So, um, why didn't he just do that in the first place, so that John and June could just stroll to wherever they were going?

Sigh. Well, they finally solve this walking problem with the Jewish Horn, a heretofore unknown writer's fiat, after trying every stupid other thing they could think of. Well done.

Also, at a critical point, the rabbi says he can't kill a walker from his former congregation, when ... he's been doing that all episode. All. Episode. He's killed LOTS of his former congregation RIGHT IN FRONT OF US. But now, suddenly, when it's dramatic, when Charlie's life is in danger, he can't do it.

God, this is stupid.

"Leave What You Don't"

In a flashback, Logan says "Keep talkin' to me!" to someone who is hiding from zombies. No, when you're hiding from zombies, don't make any noise. So, it doesn't turn out well, as you'd expect, and also as we the audience knew from the start, when we realized this was a flashback and an ORIGIN STORY.

This is where we learn how Logan became an a-hole. Because failing to save someone does that to you. Instead of trying harder to save the next person, you stop trying and become an a-hole and do ... inexplicable things. Inexplicable bad things. Inexplicable bad things because no one's explained what Logan's doing, and none of it makes a lick of sense. Because he failed to save someone so now he does these strange things and now what huh? And so ... a-hole. An a-hole who never actually hurts anyone, or at least anyone important -- he does kill people whose name we don't  know -- but he always threatens to.

Then crippled guy argues, in annoying fashion, that he's working too hard. Nobody points out that he will shit his own pants unless someone helps him go to the bathroom. That unless someone pushes his damn chair, he will just stay wherever the zombies are. Or they could just leave him on the side of the road unless someone helps him. Or .. oh, why am I applying logic to this?

I will say this again: There is no effin' way a guy in a wheelchair is going to survive the zombie apocalypse. The "differently abled" will die when the world falls apart. It takes a well-developed, liberal capitalist society to not only NOT leave the crippled on a mountain for the wolves to eat, but to also give them a useful role in society. In a dog-eat-dog zombie apocalypse, a guy in a wheel chair is only going to survive as long as someone with two working legs is willing to surrender his or her life to push them around, bring then food, and lift them onto the toilet. As soon as that person leaves to save him or herself, or gets eaten by walkers, then wheelchair boy is gone as well. I laugh every time I see him get pushed around by somebody, on GRASS, in TEXAS HEAT, and nobody complains about it.

Also, there's the bathroom thing. I'm a liberal, but in the zombie apocalypse, I ain't lifting nobody onto the toidy. That person needs to go. And as soon as *I* become a liability to the group, *I* need to go.

Anyway, then the bad guys show up. Everyone points guns at each other, but there is terrific unit discipline in this hodge-podge of people on both sides, and nobody shoots. (I would.) Logan then points out (after everyone failed to shoot in the first place) that shooting weapons around all that gas is a bad idea, so now all of them work for him. (Again, I would just shoot the MF, even if it killed us all, rather than be a slave But maybe my decisions aren't made by writers.) Plus, if shooting guns is bad, THEY can't shoot guns. How do they win by showing up  and looking mean?

Anyway, the good guys just surrender. WHAT? I guess they just won't kill you all now because ... wait, they've indicated they WILL kill you all now. What what what? They don't, but ... geez.

Then the good guys get the drop on the bad guys and ... they give it up. Again.

Then walkers start falling off a cliff on everybody. This is a crisis! Which has never happened before for some reason! And there's a fire! For some reason! Which has to be put out! Or not! WTF? I don't know!'

Some dramatic dialogue later, and Sara's dead. To which I say ... why? Then again, who cares? All the "good guys" keep surrendering for no reason to the bad guys, and they could all have been killed at any point, but they never are.

And I would have done that, had I been the bad guys. Then again, I wouldn't have surrendered, as the good guys, because the show gave us no reason why rational people would do that. And, for God's sake, if I'm about to be killed, I'd shoot Logan, or that mean black woman whose name I don't know. I mean, crap, they're really assholes. If I'm going to die, I'm taking them with me.

Then came this scene.

The tough-talkin' trucker girl saves Logan (I don't know why) and then watches as he tells someone to kill herself on the military-grade walkie-talkie that somehow everyone in Texas has, and everyone uses, and they all use the same channel (there are a lot of them), despite needing a satellite for this to happen, which means a functioning ground station, with regular troop deployment and daily maintenance and, yes, a functioning electrical grid.

So that happens. But even if you accept the above, you also have to accept that Logan somehow knew that someone would get trapped at that gas station/truck stop, that the situation would be dire, that the potential victim would have a military w-t that was still working, and that that he or she would be able to find Logan. And then Logan would tell them how to find the gun he'd hidden with one bullet, in exact anticipation of this scenario.

Wow, Logan really looked ahead.

But then, why did he hide a gun with one bullet? Why didn't he hide an M-16 and 20 clips? Why didn't he prepare for someone to defend his or herself, instead of that person committing suicide?

Why was Logan preparing for failure, and somehow finding a way to tell someone else how to find it?

hen Magical Negro -- He's where he needs to be! He does what he needs to! He's mysterious but solves all problems! -- shows up and saves her.

Geez, I'm reading back over this and it sounds so negative. But honest, I can't understand anybody's motivation in any scene I'm watching. This is bad television. I wouldn't be watching it if it wasn't in a genre I'm committed to.

Anyway, Logan's people and the Good Guys once again face off with guns, and once again nobody does anything, even though Dorie says, "Nobody move" and they all step forward anyway. Why have guns if you don't shoot? And once again the Good Guys surrender.

Then a bunch a people are shot from people on horseback from a ridge. BUT ONLY THE BAD PEOPLE. Then the ridge people ride down and point weapons at the good guys, who point guns at them the whole way, but never shoot at them. Even though they have shown bad intent by shooting, and are completely defenseless as they ride down.

Then they do ride down, and point their weapons at the good guys, who once again surrender meekly.

Honestly, this is getting old.

Then the chief bad guy("Virginia") threatens them, and is ready to tell her men to shoot the good guys, and nobody ... nobody? ... thinks to point weapons at the chief bad guy and say "you go first"? That's what I would do. But, well. And then Luciana volunteers to work for Virginia at the gas place as long as her friends leave with a full tank of gas.

So it doesn't matter. The plot is served, and the good guys leave with resources and Luciana -- that clearly no writer knew what to do with after Nick died -- is more or less written out. But the "good guys" are fine sacrificing her. They don't turn a hair at leaving her there.

Ugh.

"Today and Tomorrow"

Al and Morgan find a guy stealing their gas. They are interrupted by horse people. They hide in a van, but Al jeopardizes their position by trying to film it. Because she is stupid. Then there's some contrived drama over a gas cap. Because a gas cap on the ground in the zombie apocalypse, where there are dead people and burned cars and debris everywhere, is a SURE SIGN that people are hiding nearby. But Al gets the gas cap, and all is well.

Then some Serious Talk occurs, that goes nowhere. "Why are you doing this?" "Why are YOU doing this?" Beats me. Also: Don't care. But apparently Al is on to something, and Morgan is hiding something.

Morgan doesn't want to talk about his dead kid! You're clearly on to something here, super-reporter!

Scene shift: Salazar (who is no longer a scary former torturer from El Salvador but now a happy fellow in a ski-cap) and Grace (not dead yet) run out of gas or something in their tractor-trailer. Instead of STAYING in the tractor-trailer, which has a sleeping compartment and a whole TRAILER to stretch out in, they decide to strike out in the middle of the night in the zombie apocalypse to go ... somewhere. Wherever they're going, that's better and not dangerous at all, right? After all, they'll just have to walk back to the truck in the morning so wandering off in the dark must be compelling for some reason.

(I'm guessing contrived drama, but what do I know? I'm just the audience.)

BTW, they keep Salazar's cat in a crate, meaning they have to protect it, instead of letting the cat just walk around and protect itself, which it is more than capable of doing. But let's make sure it remains dependent on Salazar, for drama. Letting the cat out would be logical and wouldn't allow for phony drama, so there's that.

Also, when the dead attack them -- which is inevitable -- they announce themselves with dead-people growls, step into the light and attack Al and Danielall from one direction. Because dead people are really good at taking direction. And the dead NEVER present a threat on this show. It's all about our FEELINGS.

Back with Al and Morgan, there's some more faux-drama dialogue -- Morgan is SUPER-ANGSTY -- then they find a guy whose sister is somewhere, and they go look for the sister, because that's VITAL. Not sure why. Turns out Al was previously involved in some way with the people who have the sister, and they have to go in, then Virginia from the previous episode shows up and is STILL super deramatic and STILL has a terrible accent but has a horde of people all arranged strategically around Morgan and Al, who are in a swimming pool (WOW, they are organized, and know exactly where to stand in case someone falls in the swimming pool!). But they don't kill anybody (of course) and Virginia gets to jabber in her faux-Southern hoo-ha accent. Yee-ha!

Not Texas Southern, which is where they are. Just some sort of Atlanta accent by way of an L.A. dialogue coach. Just so you know. As a legitimate Southerner, and someone who has actually lived in Texas, I want to throttle that girl. Yee-ha.

Also, the bad guys say they're doing what the good guys want to do, and they have more resources. So, uh ... what makes her the bad guy?

Grace and Salazar end up ...somewhere where there's a guitar. That gives them a chance to sing (the actor who plays Salazar is an international singer). It's not very good -- Salazar tries to harmonize -- but hey, the writers say we're supposed to be charmed. Sure, I'm charmed, or whatever.

Then Grace starts to (finally and suddenly) die. Because that's how radiation poisoning works. (Not.)

Channel 5

Our heroes are upset that the bad guys are using their methods to spread their gospel.

OK, first: I still think it's hilariously implausible that anyone could set up independent electrical systems to play videos all across Texas. Especially in the zombie apocalypse.

And then for someone else to do it, too ... well why? Who's going to see these videos? What are they going to do after they see them? How are those independent generators going to keep working without anyone to show up and maintain them and bring gasoline and ... well, for God's sake, it's TEXAS, which is huge, and this is so ridiculous I don't know where to start.

And if a person sees BOTH videos, somehow ... then what? What is the purpose of this effort?

Hey, Jeff of Earth-J, if I gave you a million dollars, could you set up an off-grid system for people to watch videos across Texas that told people you'd give them money or food or something, would you be able to do it and would anybody get the stuff and why are we talking about this? It's stupid. It wouldn't work NOW and it certainly wouldn't work in the zombie apocalypse.

Also, why are the people with resources the bad guys? What have they done to show they are bad guys, and that they are worse than our good guys? They have held Our Heroes at gunpoint THREE TIMES and never shot anybody. What is the central friction here?

And why am I still talking? Why are THEY still talking? I am so tired.

Also, the gas went bad a long time ago. Remember? But everybody's got plenty now. People we don't even know on motorcycles have plenty. The GAS is FINE.

Or whatever. Onward.

THEN we see our entire team, and the plot is moved along, by The Office-style magic documentary, with closeups where Al's camera couldn't possibly go and so forth. Thank you, omniscient camera person who tells us the zombie apocalypse in perfectly lit, dramatic closeups, just prior to commercial breaks!

Also, when they're trying to cross the broken bridge, people start shooting at them, and Morgan's first idea is to ignore that and try to drive over the bridge one car at a time. Hello, Morgan? When someone's shooting at you, THAT IS THE PRIORITY.

Of course, it turns out to be Virginia ("Ginny") and her fake Southern accent, and she doesn't explain why anyone was shooting at Our Heroes, and offers to help. That is ... sigh ... so normal in this show.

Then she and her thugs show up again, and hold our Our Heroes at gunpoint again for ... what reason? She could kill them, but doesn't. She offers, for like the third or fourth time, for Morgan's group to join hers. Well, the way she's acting nobody would. So why bother? But she does, and they don't. And first she offers to fix the bridge, and then she calls some dead people on them.

OK, that LAST part I get. If they don't want to join her organization -- which we've been TOLD is bad but we haven't been SHOWN is bad -- then they ought to eliminate the stray elements in their back yard. But why didn't they do that at first? Why were they so crazy to get these people to join her? I despised Negan, but at least his Har-Har-Har schemes made sense. This doesn't.

But, yay, now it's done. Ginny has tried to kill Morgan's group, so Morgan's group finally has a legitimate reason to fight them. So I guess IT'S ON.

Oh, look, Strand! He shows up, wants to talk to Ginny! Hey, this might be useful, the grifter talking to the grifter, maybe getting something out of her!

No, nothing happens. Strand must die. That is all.

Morgan and Co.start fighting the zombies. Fighty-fight! Finally. But seen through Al's camera so, you know, at a remove. Also, they're trying to get everyone over the bridge.

Why?

Here's an idea: Torches. Start fires and try to drag the zombies after you. Or one car with the radio playing and driving at 45 degrees from the bridge. Anything that gets them following you and away from the bridge. WE HAVE SEEN THIS ON OTHER SHOWS. Zombies are stupid. Lead them away.

Nope, we have a battle at the bridge, seen through Al's camera. And Tom's. Somehow, we see everything through those two cameras. Man, those guys are good!

Also, Tom is on the bridge when it falls. BUT SOMEHOW AL HAS HIS FOOTAGE. That's a cool trick. I'm sure non-zombie-apocalypse directors would like that trick for their second-unit teams

OK, the bridge is down and everybody is walking now because ... what they lost ALL their vehicles at the bridge? But no people except Tom? Sure. And they're going ... where? I might have mentioned before that Texas is big. But they're walking somewhere. In Texas. Which is big.

Oh, June and John are getting married. I thought they already were! OK, this is good. I like them both, give them some camera time.

Oh, look, everybody's got packs. They KNEW somehow that all the vehicles would go in the river so they must have saved everything beforehand. Wow, that's really far-sighted.

They get to the place they're going to, which is one of John Dorie's faux-Western theme parks, which now I remember they mentioned at some point. But it's full of the dead. They argue, but nobody has an idea what to do. Dramatic music plays.

Hey, I've got an idea! I know, I'm not on the show. But my idea is something THESE CHARACTERS on THIS SHOW have done! It's crazy, but it just might work. John Dorie, go to the far side of the theme park, light some fires, shoot your pistols, and open the gates. The zombies will all charge in the opposite direction of your group.

Or here's an idea: Blow a Jewish Horn! Apparently zombies cannot resist it!

But i guess that's impossible because the plot says so. So now Our Heroes are going to ask for Virginia's help.

Jesus, they people deserve to die.

Whew!

Just out of curiosity, is Joan watching these with you?

Here's what I think. I think TWD has spoiled you. Up until TWD, zombie movies had been a genre which required the viewer to check his brain before entering the theater. there was one ting, several years ago (before FTWD) during a hiatus, tracy and I got our zombie fix by watching 16 different zombie movies. they were all (mostly) entertaining, but none of them were what I would really call "good." TWD is good, and your (perfectly reasonable) expectation is that FTWD be equally as good. that would be nice, but it's not. FTWD has more in common with every other example of the genre than it does with TWD.

That's how I look at it.

"Hey, Jeff of Earth-J, if I gave you a million dollars, could you set up an off-grid system for people to watch videos across Texas that told people you'd give them money or food or something, would you be able to do it and would anybody get the stuff...?"

Uh... no? Did you single me out because I have been playing devil's advocate? There's a lot about this show that bugs me, too, but I think my expectations are lower. I really don't see the point of the "dueling video tapes," either. Or the bit with Dorrie and June on the ladders. Or... well, you get the idea. One scene I did approve of, though, was the quick execution of Logan and his bunch. that storyline wasn't going anywhere. I'm glad they didn't waste a lot of time with it. And it was the one true surprise of the season.

Season finale tonight...?

I singled you out because you live in Texas, and would have a good grasp of the logistical difficulties involved in setting up tamper-proof, autonomous generators across Texas whose sole purpose is to run VCRs. Plus, you read this thread!

And Joan refuses to watch FTWD.

Oh, I get it now. Yeah, Texas is big. Not just BIG, but B*I*G!!! It's as far from Texarkana to El Paso as it is from New York City to Chicago. Nope, couldn't be done.

"...the military-grade walkie-talkie that somehow everyone in Texas has..."

As soon as someone moves to Texas, though, he or she is issued a military-grade walkie-talkie as a matter of procedure, though.

Ha! I moved to Texas in 1978, and was NOT issued a walkie-talkie! However, I was taught to say "Howdy," appreciate burnt orange, and was required by law to marry a firearm.

Actually, I have a LOT of Texas stories, some of which are true, which I will share with you sometime in the future, when you're buying the beer. Be sure and ask me about the Israeli fighter-pilot story, the time I picked up the biker chief's girlfriend, "The Boss Hawg Story" and what "no blood, no foul" means in a pick-up basketball game in a neighborhood where nobody but me speaks English.

Anyway, back to the subject at hand, which is this. Ugggghhhhh.

I don't WANT to hate FTWD. I really don't. I'm a genre fan, I want genre shows to be good (or at least popular), and I especially want genre shows like FTWD, which have zero chance of being canceled, to carry the banner high.

But, wow, this show is bad. BAD BAD BAD.

I'm not the only to think so, thank dog.

Here's a Forbes story about how bad it is.

Here's a TVInsider story about how bad it is.

Here's a DigitalSpy story where the showrunners say, "It's a good s...

Here's a ScreenRant story about how Season 5 doesn't make any sense.

Here's another Forbes story about how the season finale was the wor...

Now, I have never been a follower. I don't make my opinions based on what others think. (If I did, I would never have become a comics fan, and a grown-up who hates both football and chocolate.) But that I can't find a single positive review of FTWD, and that the people who are paid to watch it and write about it have pretty much the same opinion I do says a lot.

Or maybe not. Either way, though, I still think FTWD is one of the worst TV shows I've seen in a long time. It's even worse than Another Life (but only by a hair).

Yes, I acknowledge that's because TV has gotten a lot better than when I was a kid, where Room 222 was the best show I could find on a Friday night. It's totally true that TV has gotten so good across the board, that I can barely tolerate network TV at all, even when it's in my wheelhouse (looking at you, Big Bang Theory).

But, wow, do they have no adults whatsoever in the writers' room at FTWD? Nobody to point out when people are acting stupid, or where events don't follow logically, or that people act the opposite in one episode than they did in the one prior? Or even the scene prior?

What am I to make of how Salazar, one of the most terrifying, stunning characters I've ever seen, get neutered? He's now broken into song in two consecutive episodes. In the season finale, the two scenes that focused on him gave one of the finest actors of our generation an opportunity ... to act poorly. Ugh, awful. The poor sod has no idea what to do with his character any more.

Shall we talk about the villains, who make no sense? Of Logan, who very sincerely wanted information, but  made no effort to force it from our heroes, was completely ineffectual for half a season and died stupidly? Or Virginia, who has a bad Southern accent, wears a goofy hat for no reason, likes to make whimsical speeches, but who is a mean girl, who does mean things, for no clear reason? ("Ah'm gonna separate you all, even though you're more useful working together, just to be mean, but ah'm not gonna kill the cripple or the girl dying of radiation, because they'll be useful as ottomans or somethin' Ah'm a mean girl, but ah wouldn't do anything actually mean!")

How about the heroes, who make no sense?

Last episode, I snarked about how our heroes, determined to make it on their own and not fall victim to Virginia, who poses a ... vague threat of some kind, pass up two terrific places to hang out (the jeans factory and Salazar's warehouse) to march across the plains to find ... a theme park. But oh no! There are dead people there! Fortunately, our heroes are hard-bitten survivors of the zombie apocalypse, so they immediately come up with a plan to rid their new home of walkers. No, wait, they can't think of a damn thing to do (although the viewers can think of several) and surrender to Virginia. Because the plot.

But wait! Dwight finds horses! This is actually pretty cool, despite the lame Western theme music they keep playing! People on horses have waaay more options against walkers than people on foot, armed with sticks.

Oh, wait, Dwight is still an idiot, and gets his horse eaten.

And how does a horse get eaten? This is at least the third horse we've seen just fall down and get eaten on walking dead shows. Wouldn't they put up a huge struggle -- or at least a bigger one than Dwight? (Who, it must be said, lies on the ground doing reaction shots, where the camera shows a clear field behind him that he can run away into.) We've never yet seen a horse survive a walker attack, which is weird. If I was a horse, I'd kick like crazy at the walkers, and run away. But they don't. And if I was a walker, I'd stop trying to eat this powerful, fighting animal ... and turn around and eat Dwight.

Who, you know, isn't fighting at all. He's doing reaction shots.

Anyway, it gets worse.  For one thing, as always happens in FTWD, people make speeches. A LOT of speeches. And they usually make them at the damnedest times. Like when people are riding horses around in a mob of walkers and shooting at them and stuff. Everyone starts shouting speeches at each other. WHICH THERE IS NO POSSIBLE WAY THEY COULD HEAR. which is a good thing, because they're incredibly maudlin and obvious. I wish *I* couldn't hear them.

Then, Dwight's in trouble. So our heroes ride in, yank him in behind a saddle, and ride away with him.

Oh, no, that's what normal people would do. In THIS show, everyone keeps trying to sacrifice themselves over and over, until we end up with, I dunno, some people hiding over here, some people riding over there, and the one weapon the team has against Virginia frittered away.

Also, Dwight is stopped in his headlong flight by a fast-moving river. Because ....

Oh, c'mon. I've never lived in a zombie apocalypse, but even I've given enough thought to things like "zombies can't swim." If you're in trouble, and there's a body of water nearby -- especially one moving at high speed -- your chances are better there than standing stock immobile on the ground. In fact, I'd set up my camp near a fast-moving river, and jump into it every time a zombie showed up. Heck, let the river do the work, and carry him away for me. Then I can brush my teeth without interruption.

But evidently this hasn't occurred to Dwight, who actually IS in a zombie apocalypse, but thinks fast-moving water is ... somehow bad? Not a thinker, our Dwight.

What else? I dunno .. the proclivity our heroes have to surrender? They do it a lot. See my previous post.

Also, when they went to save the kids earlier in the season. The kids said, "No thanks, we're doing fine on our own. You just crashed a plane, you're incompetent." The adults said, "No, we can protect you, come with us, we're actually very competent." Two debate points for the kids! Who are now going to be slaves for Virginia. Well done, adults.

Speaking of kids, I see the older sister in the Lost Kids trio and Charlie are now BOTH wearing bras. That's normal, I suppose, for their age. But where did they get them? Who told them they needed to start wearing them? And why did the camera make sure that I saw them? I need a bath.

Anyway, the episode ends with Morgan shot (he'll get better) and our heroes having surrendered to Negan-Lite for no good reason, and with no real sense of menace for what that entails or that, you know, involves any characters we still care about.

Oh, and Strand made a deal with Virginia, that I guess we're supposed to be suspicious of, but it's gonna turn out that he's playing a double game and will save our heroes! Which we all figured out the minute he picked up the MRAP engine part, but I guess we're supposed to be worried about his motives. Because writers!

And, you know, I actually would have been worried in the first three seasons, before Strand was neutered. Ditto Salazar, who developed a murderous hatred for Strand early on, which I guess doesn't count now.

Because, you know, Salazar isn't a Salvadoran torturer any more. He just wants to sing.

“Anyway, the episode ends with Morgan shot…”

Last week I said that the only thing that could make FTWD dangerous again would be the death of a major character. Although I would hate to see him go, Morgan is the best character on the show. But then they did set him up to be killed and… I’m not really emotionally invested in it. A co-worker pointed out that Al wasn’t seen being loaded into a vehicle. I went back and watched the ending again, and she was led away by the arm so I don’t think it will be her, but Morgan can (and probably will) be saved by someone at the last minute.

Two episodes back, I didn’t like it that the group surrendered so easily and asked Virginia for help. They experienced enough that they should have been able clear that theme park with minimal effort. If they hadn’t, we would have (rightfully so) been complaining about that. But as soon as they did surrender, they did clear the park… just as easily as they should have done in the first place. So why surrender in the first place?

“[Virginia] does mean things, for no clear reason? (‘Ah'm gonna separate you all, even though you're more useful working together’, just to be mean…”

The only explanation for that that I can think of is Hitler’s concept “divide and rule.” The Nazis didn’t have one concentration camp for Jews, one for political dissidents, one for homosexuals, etc. They were all mixed together in every camp to keep those of like mind from banding together. If Virginia is really trying to “win hearts and minds” (as it is clear she is not), there is no other reason to separate brothers and sisters, parents and children, husbands and wives.

At least the original show returned last night, so we don’t have to talk about FTWD any longer. Also, I re-read HC volume 15 over the weekend and started v0lume 16 (and I know there’s a discussion waiting for me). It seems to me Virginia and her group might be a watered down version of the Commonweatlh. (More on that elsewhere.)

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