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Tag Archives: The Saviors
“A war of all against all.” That’s how philosopher Thomas Hobbes pithily explained the “state of nature,” his theoretical account of what it was like when human beings lived without government, without order, and without rule. He imagined a life that was “nasty, brutish, and short” and posited that we all needed a Leviathan, the personification of the force and power of the government, to avoid that unenviable existence. On Hobbes’ account, people needed to give up certain freedoms and turn things over to the Leviathan to ensure compliance with the order of the day, as the price to avoid that endless, indiscriminate war.
In Negan’s mind, he is that Leviathan. The last time The Walking Dead interrogated Negan’s moral philosophy, it left it ambiguous how the leader of The Saviors viewed himself. It was nebulous whether Negan really believed that his brutal ways were for the greater good, or whether he was just spinning propaganda to justify the comparatively lavish and carefree lifestyle he could enjoy while others toiled.
“The Big Scary U” is much less ambiguous. There is a certain sense that Negan may be deluding himself, offering rationalizations and eliding the darker or more self-serving side of the choices he’s made. But it nevertheless becomes clear that, on the surface at least, he is a true believer, someone who thinks that he’s doing what needs to be done to avoid a worse fate for everyone.
There was a hue and cry after the Season 7 premiere of The Walking Dead. Two characters we knew and cared about died, and people were undeniably, understandably upset. Some of that reaction stemmed from the mere brutality of it – the protruding eyeball and the last gasps and the earth stained with bloody mush of it all. But more of it stemmed from the senselessness of those deaths – the sense in which these individuals had perished not as the culmination of their journeys, but as fodder for puffing up the series’s new biggest of big bads, turned into sacrifices made on the altar of “this guy means business.”
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.
Since at least the middle of the show’s fourth season, The Walking Dead’s M.O. has been to divide and conquer. As the show’s cast of characters has grown, more and more often its episodes focus on just a handful of individuals, typically separated from the rest of the group. That makes the series’s season premieres and season finales (or mid-season finales), where everyone joins back together, feel almost like crossover episodes.
But it also makes them feel like reunions. The time apart for these characters doesn’t just give us a thrill when they link up once more, but makes us miss their interactions and shows us the value of their cooperation, and even their mere shared presence, through its absence. That fits the theme of “Hearts Still Beating,” which shows any number of survivors attempting to solve the season’s big problems on their own, trying to carry the entire load on their backs, only to realize that what they hope to achieve can only be accomplished by working together. “Hearts Still Beating” is not a great episode of The Walking Dead, but in this vein, it works for what show’s going for.
There’s an old saw that says the best villains are the ones who believe they’re the hero of the story. “Sing Me a Song” leaves the viewer wondering if that’s true for Negan in an episode that spends even more time acquainting the audience with him and his fiefdom. There are moments when it seems like Negan truly believes he’s doing good, bringing the progress and security of civilization back to an untamed world. There are others when it seems like he simply enjoying himself within his own twisted version of Disneyland. It’s unclear which of those things he really believes, or if he’s even aware of the distinction. But that ambiguity helps make him The Walking Dead’s most interesting villain yet.
I’m not sure I could tell you much about Tara prior to this episode. I knew that she came to the main group via The Governor. I remembered that she was among those who met up with Abraham, Rosita, and Eugene after the prison fell. I recalled that she was dating Denise. But otherwise, like so many of the show’s secondary characters, I’m hard pressed to think of any way in which she’s been fleshed out enough for her to really register for me.
I enjoyed the season premiere of The Walking Dead better than most. I understand the complaints that it was too bleak, too cruel, and too hopeless, but to my mind, it made sense to embrace those elements in order to establish Negan, both a character and as a threat. There have been so many ineffectual villains on this show, so many antagonists who seemed like mere speed bumps along the way toward Rick and company’s inevitable victory. TWD needed to make a big introduction to convince the audience that Negan and The Saviors were something different, something dangerous and more serious.
I also didn’t mind the hopelessness of that opening episode. Sure, it’s difficult to watch our heroes being broken, to see characters we know and love brutalized while the bad guys take great joy in the effort. But shows like The Walking Dead need stakes. In order for the good guys’ eventual triumph to feel earned and meaningful, the series has to make its main antagonist not only someone whose defeat doesn’t seem preordained, but also someone who’s actually worth beating. The suffering at this point of the arc will, with any luck, pay off down the line when the protagonists strike their blow against Negan and his goons.
The only problem is that the premiere already felt like a lot. It gave us a lot of blood and guts, a lot of horrible acts, and a lot of Negan preening and chewing scenery. That worked as an opening salvo for the character and as the culmination of the build his debut, which had been bubbling up since the midpoint of Season 6. But it was a great deal to take in all at once. The viewer can only stand so much of that level of cruelty and velvet-trimmed venom before it starts to overwhelm.
How can an episode where so much happens seem so dull? “Twice as Far” features a firefight, a significant casualty, a big decision from a major character, and a reckoning between two people who’ve had unfinished business for a long time now. This is all major stuff. So why did the episode feel so thoroughly lifeless?
In fairness, “Twice as Far” aimed for a certain feeling of routine in the proceedings. It opens with a repeated sequence of supply inventory, guard shifts, and the daily rhythms of Alexandria in order to establish the semi-normalcy that the town has settled into after the most recent bit of excitement. The Walking Dead has thrived on this type of “calm after the storm” vibe in episodes like “The Next World”, but here it felt ponderous and contrived.