- Follow @TheAndrewBlog
- Better Call Saul: Everyone Gets an Unexpected Push in “Off Brand”
- Goths from The Mountain Goats Is an Interesting Experiment Rather Than an Essential New Release
- Better Call Saul: It’s McGill vs. McGill in “Chicanery” – the Series’ New Best Episode
- How Guardians of the Galaxy Vol. 2 Rebukes Star Wars and Harry Potter
- Guardians of the Galaxy Vol. 2 Divides and Conquers and Delivers More More More
- Andrew Bloom on Batman v. Superman Is a Well-Intentioned, But Deeply-Flawed Mess of a Film
- Andrew Bloom on 7 Big Questions About Battlestar Galactica’s Finale
- Brian Ballast on Batman v. Superman Is a Well-Intentioned, But Deeply-Flawed Mess of a Film
- romeo summers on 7 Big Questions About Battlestar Galactica’s Finale
- B.Y. on 7 Big Questions About Battlestar Galactica’s Finale
Tag Archives: Dwight (The Savior)
One of the questions The Walking Dead has interrogated from the very beginning is whether the end of the world and the ensuing social breakdown changes people, or whether it just reveals who they truly are. The show has often played around with the idea that the end of civilization and the lack of rules and order that otherwise keep people in line can forces those caught up in the unrest to become different in order to survive. But it also suggests that for others, the fall of society just gives them license to be who they were the whole time.
The centrality of that question in “Hostiles and Calamities” fuels the episode, a slower character piece, but also uses it to pay subtle tribute The Walking Dead’s network-mate. Breaking Bad. Fans of Vince Gilligan’s seminal drama know the significance of a character hanging onto a cigarette with a loved one’s lipstick still on it. We’re familiar with the notion of a former science teacher enjoying the spoils of war, formulating poisons, puffing himself up, and taking to his new role a little too easily. Most of all, Breaking Bad-watchers can appreciate the exploration of whether changed circumstances may change a person or if they simply let the beast out of the cage.
I’m often struck by the technical and structural audacity of The Walking Dead. It’s frequently a gorgeous show, with visuals that grab you even when the frame isn’t filled with zombies. But it’s also a show that can be quite adept at communicating its ideas and themes with visuals alone, albeit one that is maddeningly inconsistent about when it feels like doing so. To that point, “The Cell” centers on the experiences of two characters, Dwight and Daryl, and opens with a pair of montages with next-to-no dialogue, but which nevertheless tell us everything we need to know about who these characters are and what their situation is.