The Walking Dead Season 9, Episode 4 Review: ‘The Obliged’

(Photo Credit: AMC)

The Walking Dead

Season 9, Episode 4

By Garrett Yoshitomi

The Walking Dead has been enjoying a rebirth of sorts, thanks to new showrunner Angela Kang. After seasons of meandering plotlines and shallow character development, Kang stepped in for season nine, and immediately breathed new life into a show in desperate need of a creative makeover. The first three episodes of the season have been great, with well-paced narratives, interesting character pairings, and a well-grounded feel to the overarching storylines. Unfortunately, with these three positive steps forward, the show seems to take four walker-sized stumbles back, as episode four, “The Obliged,” disappoints in some major ways, despite having the opportunity to lead into one of the biggest events in series history.

I’m talking, of course, about the impending departure of Andrew Lincoln’s character, Rick Grimes, the show’s main character, as well as the face of AMC’s cash cow machine. The scenes we get of Rick this week are quite well done, but there is a lot of B and C-plot flotsam thrown in that is considerably less compelling and greatly detracts from this crucial storyline. “The Obliged” very much feels like a Scott Gimple-era episode due to its choppy structure and forced, drawn out subplots.

One of these subplots, the Anne-Gabriel storyline, seemed promising when it was introduced a week ago, but failed to really expand on that promise, as it was relegated to just a handful of moments that were spliced within the larger A and B-plots this week. As unamusing as I found yet another double cross, from the Queen of Double Crosses, Anne/Jadis, I found solace in the fact that her predictable shadiness would ultimately lead to the introduction of a new, sinister group of human trafficking baddies- something that we haven’t totally seen, yet in this show.

(Photo Credit: AMC)

When we last left Anne, she had just knocked out Gabriel, after he followed her to The Heaps, cryptically revealing that while she previously thought he was a ‘B,’ she now thinks he’s an ‘A.’ But, what does it all mean, Basil? Angela Kang has dropped her hints, and it’s an interesting mystery for a show that’s pretty devoid of ones that don’t have to do with guessing who’s going to bite it. Unfortunately, we’re going to have to wait at least two more weeks for an answer because I highly doubt Rick’s send-off episode is going to devote any time to the latest in a long line of hairbrained garbage lady schemes.

The entire execution of this storyline is very Gimple-era Walking Dead. The awkward jumps away from the much more exciting Rick-Daryl plot, to yet another scene of Anne getting ready to feed someone to a walker; the heartfelt monologue as a main character approaches, but never quite reaches, their imminent doom; the sense of dissatisfaction when you realize that parts of an entire episode were spent on a plotline where barely anything happens- all have been weekly staples of Walking Dead episodes, for almost its entire run. I hope this is the last we see of this kind of sloppy writing, but even with a new showrunner, old habits die hard, and I have a feeling this isn’t the last season nine filler plot that we’ll have to endure. As long as the real narratives of the season are solid enough, and I believe they will be, it’ll be worth it.

Another plot detour, albeit a more worthwhile one, is the lengthy conversation we get this week between Michonne and Negan. Despite being such an enormously popular character, Michonne really hasn’t gotten to do a whole lot for the past several seasons. She entered the show with a bang back in season three, where most of her character development was tied up in the Governor storyline- her most memorable moment being when she delivered the killing blow to the Governor in the season four midseason finale.

(Photo Credit: AMC)

Since then, most of her character development has been based on her relationship with the Grimes family, as she became a love interest for Rick, as well as a close friend and mother figure for Carl. Although this tender family dynamic has become core to the show, it’s unfortunate that in recent seasons, Michonne has received very little attention outside of her relationship with Rick. In season seven, she was mainly tasked with convincing Rick to stand against Negan, and while this came with a healthy dose of Michonne badassery, her role was still secondary to Rick- relying on him as the narrative focal point, while she worked around him. It would have been totally feasible, and a lot more satisfying, if she had just decided to take out Negan on her own. Why does Rick get all the glory, when Michonne would have been just as capable at galvanizing the troops and leading Alexandria against the Saviors?

It might be a season or two too late, but it looks like we’re finally going to be able to see how Michonne does in this kind of leadership role. The idea of Michonne as a leader was slowly built up over season eight, and has finally reached a head, here in the early going of season nine. Last season, she received very little individual focus, never leading group missions, or going out on her own; but Michonne was always there, helping out when needed, and subtly nudging the group towards more peaceful and thoughtful long-term solutions, from the outskirts of the story. While it didn’t seem like as big of a deal in the midst of last season’s All-Out War arc, Michonne’s more reconciliatory leanings are going to become a very valuable commodity after Rick’s departure from the show next week. 

(Photo Credit: AMC)

It’s very clear that Michonne will be one of several characters set to fill Rick’s role in the coming episodes. So far in season nine, we’ve already seen her spearhead the effort to craft a group charter between the four communities, as well as take over chieftain duties, while Rick is away from Alexandria. What’s more, this week she gets handed one of Rick’s major storylines straight from the comics. In the comics, Rick develops a strange relationship with Negan, as the two share conversations, while the latter is imprisoned. Michonne and Negan have their first conversation of this kind, and while it’s not an amazing scene by any means, it is nice to see these two characters interact after not having appeared onscreen together since the lineup scene.

Unfortunately, as much as I like this new character development being thrown Michonne’s way, I’m fairly lukewarm about the role Negan will play in it. Negan was a fantastic villain when first introduced, but eventually wore out his welcome after his “charming sociopath” schtick got old after the better part of two seasons. The unoriginality continues in his conversation with Michonne, as he tries to Jedi mind trick her into feeling sympathy for him by giving her the old “we’re the same, you and I” spiel. Ugh. Everything about Negan is just so…comic book-y. And, while I think that was an interesting dynamic starting out, I don’t think it’s necessary anymore, especially when season nine has felt so fresh with more grounded storylines.

While the potential for Michonne’s new direction is exciting, the real heart of this episode lies in the brotherhood between Rick and Daryl, and the resolution to their conflict that’s been brewing since the season premiere. Maggie’s decision to head to Alexandria to kill Negan, triggers a series of events that ends with Rick and Daryl stuck at the bottom of a sinkhole, finally forced to face their disagreement. I’m glad that Rick and Daryl’s confrontation in this episode is more of an argument, rather than a repeat of their fistfight from season eight, episode five. While that was an entertaining fight scene, this argument turned heart to heart is much more powerful and appropriate for what’s likely going to be Rick and Daryl’s final scene together.

(Photo Credit: AMC)

The fight itself isn’t overly contentious (although it does feature The Walking Dead's first ever broadcasted f bomb!)- voices are raised, blame is tossed, but ultimately, these two longtime companions, members of the original Atlanta group from all the way back in season one, connect over their mutual love and respect for each other. In defending Maggie’s choice to kill Negan, Daryl reminds Rick of the debt he owes Glenn, and it’s amazing that after two whole seasons, the very mention of Glenn’s name carries a weight to it that no other character quite captures. In turn, Rick argues that Daryl sparing Dwight back in season six, is similar to keeping Negan alive.

This scene is quite special when looking at it within the entirety of The Walking Dead. The friendship between Rick and Daryl is one of the defining relationships of the series, as the two went from bitter enemies to true brothers. And, this scene captures this dynamic well, with an outstanding script and beautiful performances from Andrew Lincoln and Norman Reedus. In the end, differences are put aside, and although neither man convinces the other in an overly logical way, Daryl ends up striking at what matters most- that the bonds he and Rick share, along with the rest of their original group of survivors, is what will carry them into the future, not what kind of symbol keeping Negan alive may or may not mean for Carl’s memory and to the rest of the communities.

(Photo Credit: AMC)

Next week is Rick Grimes’ last episode. Which means that The Walking Dead will be saying goodbye to its central character and face of the franchise, after eight years and over a hundred episodes. You’ve heard how Rick getting written off amounts to a huge departure from the comics, but with the death of Carl last season, and now Rick’s end looming, it’s clear that AMC isn’t afraid to diverge from Robert Kirkman’s source material, at least when their actors force their hands and ask for an out. My expectations for next week are relatively mild.

Despite “The Obliged” being the weakest outing of the season so far, I still have faith in Kang’s creative vision, and I believe that the rest of season nine will look more like the first three episodes, rather than the latest. Though, I wish there would have been a bit more shock and awe thrown in for Rick’s death, I understand the show’s need to get ahead of leaks, as well as advertise the hell out of #RickGrimesFinalEpisode, in an effort to boost sagging ratings. With most, if not all, of the suspense sucked out of next week’s episode, it seems likely that we’ll get a story more focused on Rick’s relationships with others, as well as his transformation as a character and impact on the overall story, similar to the send-off we got for Carl. I think it will be a good episode, one with the feeling and resources of a season finale, but with much build-up comes the potential for letdown, and I’m not entirely ruling out an earnest, yet ultimately underwhelming farewell for Sheriff Grimes.

The Walking Dead Season 9, Episode 3 Review: ‘Warning Signs’

(Photo Credit: AMC)

The Walking Dead

Season 9, Episode 3

By Garrett Yoshitomi

Things are really starting to pick up for The Walking Dead’sninth season, as it delivers one of its best episodes of all-time, in this week’s “Warning Signs.” Episode three gives us a nice blend of dramatic tension, satisfying action scenes, and just the right amount of whodunit sprinkled into a well-paced hour that moves the story along, and manages to touch on all of the important players this season, including several supporting characters. The Saviors are still public enemy numero uno, as construction on the bridge comes to a screeching halt once they realize that someone’s been hunting Saviors in the middle of the night.

I’m usually not a fan of shows recycling the same group of villains over and over again, but so far, this arc is shaping up to be one of the show’s best. New showrunner Angela Kang has breathed new life into the Saviors by humanizing them- giving them motivations beyond just being evil- and centering their conflict with Rick’s group inside a wider, complex narrative. The storyline itself is rather simple, and I think having a straightforward story is important when dealing with a layered plot that affects a large ensemble cast of characters in different ways. You want the sequence of events to be easy to follow, and the character development to feel authentic, so that the overall thematic importance seems cohesive and logical.

After being spared at the end of the war, the Saviors have been brought into the fold by Rick, but the rest of the communities aren’t all that interested in playing nice. However, because of the deal Maggie struck with Rick, the Saviors make up the bulk of the work force for the bridge project, so for the time being, they’re a necessary evil. Relations with the Saviors have been cool at best (thanks largely to Rick’s efforts), but tensions have been bubbling at the surface for a while, and now that Saviors are being mysteriously murdered left and right, this relatively peaceful coexistence finds itself turned upside down.

(Photo Credit: AMC)

This friction eventually builds to a full-on standoff between the Saviors and the rest of the bridge camp. With their members being rapidly picked off, and no way to defend themselves, the Saviors decide that vengeance is the next best choice, setting their sights on Daryl as the likely angel of death. What separates this conflict from a typical Savior showdown is that it’s motivated by more than, “the Saviors are the bad guys, Rick’s group are the good guys, let’s have them fight.” The Saviors are fighting for their own self-preservation, not some contrived, feudal warlord desire to subjugate people for their personal gain. This is a humanizing desire for a group of characters who are usually depicted as anything but. And, while it doesn’t earn them any sympathy, it certainly raises the stakes of their situation, and gives the entire feud a more grounded, realistic feel.

The entire face-off itself is incredible. It’s intense, well shot, and one of the most captivating scenes of the entire series, without even a single bullet being fired. The dramatic tension and the rising exchange of aggressions, with each side getting closer and closer to blows, kept my eyes glued to the screen in a way this show hasn’t managed to do in a while. It feels so natural seeing Daryl and Carol steadying their troops like hardened field generals. Daryl standing above the rest of the group, scanning the Saviors’ ranks like a hawk, and the rest of the group drawing their sidearms on Carol’s mark, feel like the kind of roles we missed out on for these two during the All-Out War saga. Although it’s a season too late, I’m glad we’re getting to see these two OG characters really strut their stuff, and I can easily see them sliding into the central leadership role, once Rick departs the show.

(Photo Credit: AMC)

I think what really makes this whole storyline hum is how well the writers have managed to incorporate several minor characters, in a way that feels organic and genuinely interesting. For the first time almost ever, the Saviors feel like actual compelling villains, but if I had to tell you even one of their names, without looking them up, I couldn’t. Even with names, none of these bit characters have anything close to something resembling a backstory. Named Saviors like Arat, Laura, and Regina have received a moment or two in the sun, only to be inevitably relegated to background roles, popping in and out when the story calls for a smirking lackey or two.

So far, the writers have ignored the criminal neglect these minor characters have received in seasons past, reincorporating them into the story in a very central way. And, because of how straightforward this overall storyline is, it doesn’t really matter that we don’t know who these redshirt Saviors are. While individual characterization is important, it’s not required to understand the Saviors’ motivations- members of their group are being killed, and they want to do something about it. However, what turns this storyline from an entertaining, multi-episode A-plot, to a series-wide turning point, is the full exploration of its effect on characters both major and minor.

It’s amazing to see the events of this episode fuel the ideological, soon to be physical, conflict between Rick and Maggie and Daryl. We’ve seen members of the group feud in the past, but this upcoming clash between longtime friends feels like it will have major, much more permanent consequences. Based on typical Walking Deadplot progression, it’s pretty surprising to see this storyline play out so quickly. If this were a season ago, we would have spent the next four episodes building up to Maggie’s eventual visit to Alexandria. Granted, this could all be getting sped up for the sake of RICK GRIMES’ FINAL EPISODES, but I’m willing to bet that keeping the plot moving is all part of Kang’s plan to retool the show.

(Photo Credit: AMC)

The impact of this storyline goes beyond the main characters, though. What really gives me high hopes for this show going forward, is how the Oceanside women, a heavily underutilized group of minor characters, are so seamlessly incorporated into the episode’s main plot. Prior to this episode, the Oceanside community had been relegated to nothing more than a convenient plot device. The community’s tragic origin story helped to further demonize the Saviors, while their refusal to give Alexandria their giant stash o’ guns gave Rick’s group a nice softball of an obstacle to overcome in the back half of season seven. The women of Oceanside do ride out to the Hilltop’s aid at the end of season eight, but the focus was more on how this benefitted the overall war effort, rather than the impact this decision had on Oceanside. For the most part, in the two seasons since they’ve been introduced, there’s been very little substantial character development for the Oceanside women.

This dynamic gets turned on its head, though, as Oceanside features heavily into this episode, shaping its outcome, and displaying the kind of agency that few supporting characters on The Walking Deadget to have. When all of the puzzle pieces start to finally fall into place, the backstory and characterization that Oceanside had previously only received in passing comes full circle to provide their arc with a natural sense of closure that also serves as a building block for the show’s wider narrative. This scene plays out beautifully, and is incredibly well acted by Sydney Park, who plays teenage Oceanside leader, Cyndie. Park gives a haunting monologue that truly captures the heart of what I think can make The Walking Dead a great show- the importance of loved ones, both lost and alive, and the emotional impact they have on even the most apocalypse-hardened characters.

(Photo Credit: AMC)

In a large ensemble show, characters and their relationships are king. While having more characters than you know what to do with is usually a burden for The Walking Dead; in the case of “Warning Signs,” it’s a strength, as Kang is able to swiftly and purposefully move her multitude of chess pieces across the board, engaging them in shorter term storylines, all while getting them positioned for the bigger picture ahead. If you’ve felt less invested in The Walking Dead in recent seasons, or have given up all together (although, if that’s true, I’m not sure you’d be reading this), I’d give the veteran show another chance. The early returns from season nine have been very promising, and “Warning Signs,” in particular is a strong enough offering for this longtime Dead critic, even longer time fan, to admit that this show is definitely worth your time. It’s a new world, indeed. And in this new world, The Walking Dead is back.

The Walking Dead Season 9, Episode 2 Review: ‘The Bridge’

(Photo Credit: AMC)

The Walking Dead 

Season 9, Episode 2 

By Garrett Yoshitomi

We’re two episodes into season nine; and so far, The Walking Dead is making good on its promise of a “new world” for not only its characters, but the audience, as well. With new showrunner Angela Kang at the helm, it appears that the series is leaving behind the choppy, muddled storytelling that’s plagued the show for almost its entirety, in favor of a straightforward central plot driven by complex character development. 

(Photo Credit: AMC)

Remember how the beginning of season eight threw us right into several large battles with the Saviors, with no context whatsoever, and it took about a month’s worth of episodes to really understand what was going on? Eventually we learned that Rick’s plan was to take out all of the Savior outposts, so that when the group used a walker herd to trap the Saviors in the Sanctuary, Negan wouldn’t be able to rely on outside reinforcements to save his people. 

But of course, at the last moment, Daryl conveniently went rogue on the plan, letting the walker herd into the Sanctuary, which the Saviors were eventually able to fight their way out of. This is a great, recent example of the way The Walking Dead typically constructs its seasons- with an action-focused midseason or season finale, and the seven episodes leading up to them that are forced to drag along a contrived plot and a cast of characters acting unrealistically stupid, or with poorly developed motivations. 

However, if this week’s episode, “The Bridge,” is any indication, we could be in store for a new era of Walking Dead storytelling, with actual character development that organically drives the plot, rather than an episodically crafted season that shoehorns characters into certain situations, in order to culminate with a visually exciting, albeit conceptually shallow finale. For the first time, maybe ever, The Walking Dead is building its story around its characters, rather than some convoluted sequence of events that gets the season from point A to point B. 

(Photo Credit: AMC)

And, for a large ensemble show like The Walking Dead, this all starts with developing out the characters that fans have not only grown accustomed to, but absolutely love. That’s what’s always baffled me about this show. The Walking Dead is a literal television phenomenon, with a level of fan engagement and success that other networks would kill for, if that was how ratings worked. Shows with high quality writing are constantly living under the fear of cancellation because they just can’t seem to find their footing within the pop cultural zeitgeist. And here The Walking Dead is, eight seasons of average, at best, writing later, with more fans than they can shake a walker leg at. 

Getting a wide enough audience to fall in love with your show should be the hard part. The Walking Dead should have every advantage when it comes to creating engaging storylines because they’ve had an audience that will tune in regardless, pretty much since jump street. And yet, despite all of the fan support in the world, this show has squandered it with season after season of subpar content. But, that’s all about to change because with viewership dwindling precipitously, this show can no longer rely on fans tuning in religiously in spite of a weak product. 

(Photo Credit: AMC)

One thing that you’ve probably noticed after these first two episodes, is how many small character interactions we’ve been getting, especially without Rick. We’re clearly being set-up for a post-Rick Grimes Walking Dead, and surprisingly enough, the show seems to be better off. Without the bulk of the screentime going to Rick (who, for the record, I’m a fan of) we get to spend more time with characters, whose presence have grown infrequent in recent seasons. Enid is transforming from lowly sidekick to badass field doctor, while Gabriel, after spending four seasons on the show, is finally getting some substantial character development outside of his usual “I used to be a coward” beat, through his budding relationship with Anne. 

(Photo Credit: AMC)

Last week, I wrote about how Maggie is being built-up to assume the “group leader” mantle from Rick, but it’s looking like that role might be divvied up between multiple characters. One character poised to step into the forefront is Daryl Dixon. Despite denying that he’ll be receiving a pay bump on track to make him one of the highest paid stars on television, Norman Reedus will still be receiving top billing once Andrew Lincoln steps down from the show. As one of The Walking Dead’s most popular characters by far, it makes sense for Daryl to feature more prominently, to help ease the transition for a show about to lose its main character. We get a lot of Daryl in this episode. And, while he still is and always will be a man of few words, his actions and relationships with other characters propel the A-plot in this episode, and figure to keep Daryl close to the narrative action for the first half of season nine. 

Throughout his time on The Walking Dead, Daryl has always been portrayed as a defender of others- he famously spent days searching for Sophia back in season two, and he was the only one to stand up to Negan during the lineup scene (although this did indirectly lead to Glen’s death). Daryl’s willingness to protect and fight for his companions permeates this week’s episode, resulting in two separate run-ins with former Savior, Justin. When it’s all said and done, Justin will be nothing more than another footnote on The Walking Dead’s long list of antagonists, but he’s serving his role well so far- smug, brutish, and just menacing enough to make it really enjoyable when Daryl kicks his ass. 

(Photo Credit: AMC)

Because the Saviors’ coexistence with the rest of the survivors will be such a big focal point of season 9A, it seems likely that Daryl’s continued mistrust of them will only continue to bubble at the surface, and cause problems for Rick. While Rick is undoubtedly still in charge of the decision making, it’s Daryl’s relationships with the rest of the group that will ultimately make us care about this plotline. It was heartbreaking to see Aaron’s injury, but the real narrative impact to this storyline is when Daryl, fiercely loyal to his longtime scouting companion, attacks Justin for indirectly causing the lumber accident that takes Aaron’s arm. Aaron will surely be thrust into some unique character development of his own, but his injury serves as a graphic reminder of the cost of placing your trust in the wrong people, an idea that Daryl seems quite keen on defending.