[7.4/10] This episode has way too many storylines packed into it. But most of them are pretty good, so I’ll take my wins where I can find them, especially with The Walking Dead.
My favorite storyline was our heroes finally gaining way into The Commonwealth. I kind of loved everything about it. The cheesy 1990s-style video about the community was a hoot. More than that, though, I love the notion of the place as a seeming paradise in a brutal world. There’s babies and cake shops and peace and prosperity in a way we’ve never really seen before in the world of TWD. But at the same time, there’s hints at authoritarianism, a dizzying bureaucracy, and something approaching a caste system where folks blow you off until they discover you’re friends with the state department.
The mix of the sort of stability and luxury that’s been all but unknown since the world fell, with an authoritarian state riddled with rules and classifications, is the most intriguing thing TWD has done in ages. I’m a big fan of Eugene, Ezekiel, and Princess finding their way around this new place and getting into trouble when they try to call home.
The one part I didn’t really care about is Yumiko’s. The hint that she’s been tapped for the big leagues, while reuniting with her long lost brother, has plenty of juice. But instead we get a generic conversation about “Stop trying to control my life, Sis!” that feels like it’s from a different show. Still, color me intrigued by the Commonwealth, (and longtime fans of the show will recall how things went the last time our heroes ended up in a seemingly idyllic community with a potentate named Milton.)
Aaron’s story isn’t bad either. It’s high volume emotions without as much realism as I’d like, but I do appreciate the theme here. Aaron torturing an ex-Whisperer after coming to the wreckage of Hilltop because he’s afraid for the safety and continued health of his daughter is a good note for the character. His opening dream is a little much, but there’s something ot be said for the Alexandrians processing their grief and anger over what happened last season, and it not just going away. I like that it’s Carol who pulls Aaron back from the brink, noting that she herself has been down a dark path in similar circumstances (I’m still mad the show killed off Henry), and that it’s not worth it. The illustration of those ideas here isn’t outstanding, but it’s solid.
I’m pretty meh on the Negan/Maggie storyline here. We get it. The two have issues. Negan wants to bail and look out for themselves because he doubts anyone survived and Maggie will go the extra mile for people. Great, we get it. The show better be going somewhere good with all of this, because it’s hitting the same notes with these two over and over again. I guess there’s something to be said for Gabriel showing up just when Negan was about to bail, but it’s not much.
We also get a nice story with Judith. The child actors on the show still aren’t great (which, again, speaks more to the show’s directors than the kids themselves). But I like that the show’s actually grappling with the fact that Judith and R.J. have effectively lost everyone close to them. I understand that the actors who play her guardians were done with the show, but it’s still a pretty messed up state for Judith to be in, and invoking the handprint boards she and Carl made when she was a baby is a nice symbol for exploring that. The young actress may struggle elsewhere, but does a good job of conveying the emotional hardship of that, and Rosita giving her support may be the most I’ve ever liked that character.
I’m sure there’s something else I’m missing, since there were what felt like a dozen storylines in this episode, leaving most underfed. That said, the potpourri of plots we get here is good, and sets the table for more interesting material to come.
Review by Andrew BloomVIP 9BlockedParentSpoilers2021-09-24T01:42:20Z
[7.4/10] This episode has way too many storylines packed into it. But most of them are pretty good, so I’ll take my wins where I can find them, especially with The Walking Dead.
My favorite storyline was our heroes finally gaining way into The Commonwealth. I kind of loved everything about it. The cheesy 1990s-style video about the community was a hoot. More than that, though, I love the notion of the place as a seeming paradise in a brutal world. There’s babies and cake shops and peace and prosperity in a way we’ve never really seen before in the world of TWD. But at the same time, there’s hints at authoritarianism, a dizzying bureaucracy, and something approaching a caste system where folks blow you off until they discover you’re friends with the state department.
The mix of the sort of stability and luxury that’s been all but unknown since the world fell, with an authoritarian state riddled with rules and classifications, is the most intriguing thing TWD has done in ages. I’m a big fan of Eugene, Ezekiel, and Princess finding their way around this new place and getting into trouble when they try to call home.
The one part I didn’t really care about is Yumiko’s. The hint that she’s been tapped for the big leagues, while reuniting with her long lost brother, has plenty of juice. But instead we get a generic conversation about “Stop trying to control my life, Sis!” that feels like it’s from a different show. Still, color me intrigued by the Commonwealth, (and longtime fans of the show will recall how things went the last time our heroes ended up in a seemingly idyllic community with a potentate named Milton.)
Aaron’s story isn’t bad either. It’s high volume emotions without as much realism as I’d like, but I do appreciate the theme here. Aaron torturing an ex-Whisperer after coming to the wreckage of Hilltop because he’s afraid for the safety and continued health of his daughter is a good note for the character. His opening dream is a little much, but there’s something ot be said for the Alexandrians processing their grief and anger over what happened last season, and it not just going away. I like that it’s Carol who pulls Aaron back from the brink, noting that she herself has been down a dark path in similar circumstances (I’m still mad the show killed off Henry), and that it’s not worth it. The illustration of those ideas here isn’t outstanding, but it’s solid.
I’m pretty meh on the Negan/Maggie storyline here. We get it. The two have issues. Negan wants to bail and look out for themselves because he doubts anyone survived and Maggie will go the extra mile for people. Great, we get it. The show better be going somewhere good with all of this, because it’s hitting the same notes with these two over and over again. I guess there’s something to be said for Gabriel showing up just when Negan was about to bail, but it’s not much.
We also get a nice story with Judith. The child actors on the show still aren’t great (which, again, speaks more to the show’s directors than the kids themselves). But I like that the show’s actually grappling with the fact that Judith and R.J. have effectively lost everyone close to them. I understand that the actors who play her guardians were done with the show, but it’s still a pretty messed up state for Judith to be in, and invoking the handprint boards she and Carl made when she was a baby is a nice symbol for exploring that. The young actress may struggle elsewhere, but does a good job of conveying the emotional hardship of that, and Rosita giving her support may be the most I’ve ever liked that character.
I’m sure there’s something else I’m missing, since there were what felt like a dozen storylines in this episode, leaving most underfed. That said, the potpourri of plots we get here is good, and sets the table for more interesting material to come.