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Tag Archives: The Kingdom
Moments flash before Morgan’s eyes. His sanity begins to slip as he falls back into disjointed ramblings once more. The lives taken, the lives lost, the lives tainted, all linger with him, brought to the surface again: Ezekiel, Richard, Carol, Benjamin, Duane.
That sort of thing always gets me — montages of past events, the images of old faces and old places returning in a grand, dizzying cacophony. Something about the rush of those little moments makes an impact. I know it’s a device. I know how manipulative it can be. And yet, I cannot help but find it affecting.
So when Morgan starts to lose his mind again, to crack from the equal and opposing pressures of his pacifist philosophy and a world that requires something different to protect those with their futures still ahead of them, I cannot help but feel it too. “Bury Me Here” is not The Walking Dead’s finest hour — more than a few clunky moments see to that — but it’s an episode centered around Morgan’s moral turmoil, the fault lines of his ethical stance, and that gives it power, in harmony with and apart from the glimpses of the path that led him here.
In between Seasons 6 and 7 of The Walking Dead, I finally found the time to watch Deadwood, the acclaimed, short-lived HBO series that helped usher in the current era of prestige television that The Walking Dead has been trying desperately to be a part of. And though Deadwood is a longstanding critical darling while The Walking Dead has been a perpetual whipping boy in the critical community, the most recent seasons of TWD have focused on the same question that consumed Deadwood for its three-season run — specifically, what does it take to make a society?
That’s an oversimplification of both shows, but to my mind, Deadwood was first and foremost about what it means to build a civilization: the myths we perpetuate, the wheels we grease, and the dirt and blood we try to scrub off the floor or otherwise hide in the process. From the onset of the Alexandria arc, The Walking Dead has been interrogating the same idea. Whether it’s Deanna’s vision for Alexandria as the start of a sustainable bit of rebuilding, or Gregory running the Hilltop as his own little fiefdom, or Negan extracting his pounds of flesh with The Saviors, The Walking Dead has been interested in what type of system, what sort of leaders and visions for the future, will prevail. All of these people, like Deadwood’s Al Swearingen, are trying to fashion a society in the midst of something approaching a state of nature, and this era of the show seems as poised as any to dig into the ways that these differing perspectives clash and conflict.