The Walking Dead Season 9, Episode 11 Review: 'Bounty'

(Photo Credit: AMC)

The Walking Dead

Season 9, Episode 11

By Garrett Yoshitomi

After several weeks of dipping its toes in the water, The Walking Deadfinally takes the plunge into The Whisperers storyline, as ‘Bounty’ gives us the first face-to-face confrontation between our heroes and Alpha. And, while Alpha and her band of masked followers live up to their billing as one of the show’s creepiest foes, their storyline as a whole loses some of its bite, when juxtaposed with the more upbeat Kingdom side plot that’s featured in this episode. This subplot, in which Ezekiel leads a group from the Kingdom in search of a movie projector bulb, is a perfectly enjoyable story on its own, but ultimately feels out of place when scenes of Jerry singing along to funk music are spliced with the considerably tenser stand-off between Daryl and Alpha.

It can be hard for antagonists to maintain a consistent air of danger and menace, especially for The Walking Dead, which took a perfectly lethal and terrifying Negan, and gradually reduced him to nothing more than a smirking quip with a baseball bat. So far, in the early going of season 9B, The Whisperers are just as frightening as they were during their initial introduction in the midseason finale. Unlike the midseason finale; however, there’s no fog-filled cemetery for these new foes to conceal themselves – they're out in the open and standing at the gates of The Hilltop. Without the element of surprise, it does feel like The Whisperers could be disposed of quite quickly by our heroes. Daryl says as much when he threatens Alpha with “enough firepower to light you up.” 

(Photo Credit: AMC)

But what The Whisperers may lack in resources, they more than make up for with a frightening feral nature that unsettles even the battle-tested and better armed Hilltop. Any doubts about The Whisperers’ commitment to their animalistic lifestyle are immediately put to rest when one of The Whisperers leaves her baby to be devoured by walkers, rather than let its cries attract more of a herd. A cold-blooded move in the eyes of many, but to Alpha just natural selection. This unfeeling, utilitarian mindset is something we haven’t seen since The Governor. But, unlike The Governor, who’s contrived story arc saw him completely lose his freaking mind less than a year into the apocalypse, The Whisperershave had almost a decade of the end of the world to mold their psychosis into the controlled madness we see today.

If there’s one thing that caninhibit The Whisperers’ threateningness, it’s this episode’s insistence on juxtaposing the seriousness of their storyline with the lightheartedness of The Kingdom’s quest for a movie night. The Walking Dead has a shaky track record of attempting to inject levity into its typically dark subject matter. Sure, the past few seasons have given us memorable lighter moments like Carl snacking on pudding, Rick and Michonne falling through a roof onto a pile of mattresses, and Tara flipping the bird to the entire Oceanside community. But these scenes, while fun in the moment, are just minor detours from the gloom and foreboding that dominate the rest of the episodes they’re a part of.

(Photo Credit: AMC)

Simply put, it’s rare for there to be an episode of The Walking Deadthat’s just plain…fun. Rick and Daryl’s buddy road trip episode, ‘The Next World,’ probably comes the closest. And, while it’s unrealistic to except every episode of this show to focus on good time happy sunshine feelings, I feel like it’s an important dynamic to explore that helps us feel more invested in characters by making them seem more relatable, and ultimately creates a stronger sense of dramatic stakes when these characters inevitably come into peril. This week’s movie projector storyline could have accomplished this well, if it had been given the proper attention.

The Kingdom’s inherent whimsical nature and larger than life characters, like Ezekiel and Jerry, fit in well with the lighthearted nature of their quest for a movie projector bulb. Unfortunately, this is a bit hard to appreciate when the episode keeps shifting to the tonally heavier Hilltop storyline. You could argue that this kind of frivolous subplot wouldn’t be able to carry an episode by itself; and thus, needs a more narratively serious A-plot to balance it out. However, this juxtaposed tone that The Walking Deadhas a history of leaning on, ultimately just ends up detracting from both plots- the more fun storyline is dragged down, while the more serious storyline loses some of its dramatic tension.

(Photo Credit: AMC)

And, although searching for what’s basically a light bulb may seem less exciting than current events at The Hilltop, an entire episode focused on The Kingdom would have served as a welcome check-in with a significant portion of the cast who are currently on the sidelines of the primary Whisperers arc. Major characters like Carol and Ezekiel have mostly been relegated to the background so far in this post-time jump world, in favor of subplots that take the story through Alexandria and The Hilltop, instead. But, The Kingdom is still a key player in this series, and as hosts to the upcoming community fair, it's likely that their role in the narrative will soon expand. We’re almost to the halfway point of season 9B, and with a couple of build-up episodes taking place recently, you can expect there to be an uptick in action over the coming weeks, before another cooldown leading into a ramp-up to the season finale.

The Walking Dead Season 9, Episode 10 Review: 'Omega'

(Photo Credit: AMC)

The Walking Dead 

Season 9, Episode 10

By Garrett Yoshitomi

For the second straight week, The Walking Dead delivers an episode that’s focused more on character development and story building, rather than action and zombie guts. And, for the second straight week, this approach pays off, as ‘Omega,’ serves as a well-paced, entertaining episode that establishes a proper background for newcomer Lydia, while also subtly exploring the origin story of her mom, Alpha. This type of “slow burn” approach isn’t entirely new to The Walking Dead – stretches of bland filler episodes, with only the occasional worthwhile character moment, have plagued this series for almost its entire existence. However, what is new, at least for this season, is the quality of said “filler” episodes, and the way they’re able to properly enhance the wider narrative with well-written character-centered subplots. 

So, what exactly constitutes a “filler” episode? Primarily, filler episodes feature one or two character-driven storylines that focus on character development rather than major plot progression. Of course, filler episodes still have plots, but the way they relate these plots to the overall season is much less about moving from point A to point B along a story arc, and more about moving characters from point A to point B on their own personal trajectories. “Filler episode” has a bit of a negative connotation, but I think that’s only because they tend to feel “boring,” especially when compared to episodes that more overtly move the plot forward. Filler episodes can also seem disruptive, killing a season’s momentum by shifting away from the more exciting, usually action-filled parts of the story, and instead, forcing the audience to reflect on the characters and their place in the narrative. 

(Photo Credit: AMC)

What’s great about this week’s dose of filler is that it not only functions well as a standalone episode; as the plot itself is entertaining enough on its own, but it also fits perfectly within the rest of the season, developing characters in a way that augments their presence and our investment in their roles for the major events to come. Sadly, most filler episodes in The Walking Dead fail to do both these things, which makes the quality of this week’s episode all the more notable of an achievement. Ultimately, I think the key to any great filler episode is squeezing every last drop of juice out of its plotline’s narrow range, and ‘Omega’ does this beautifully by providing simultaneous character development for Daryl, Lydia, and even Alpha, all within the same subplot. 

This week’s episode takes place solely at The Hilltop and its surrounding areas, as the captured Whisperer storyline that began last Sunday, gets into full swing. Daryl’s plan to use Henry to coax information out of Lydia works initially, but he is forced to abandon it once Henry begins to divulge too much information of their own. Throughout the episode, Lydia’s responses to both Daryl and Henry’s line of questions are mixed between real-time dialogue and non-linear flashbacks that are broken up over several scenes. In a vacuum, the flashback storyline is interesting to see play out. The pre-apocalyptic collapse of society is a story we’re familiar with, but don’t often get to see in The Walking Dead. And, while I agree with the show’s decision to avoid consistently flashing back to those early days of the outbreak, it’s fun to see occasionally, and Lydia and Alpha’s story, in particular, provides a compelling, unfiltered look into their characters. 

(Photo Credit: AMC)

Not only does this flashback provide insight into Lydia’s past life, but the way in which it’s presented gives us context for who she is now, as well. Throughout Lydia’s recounting of her past, subtle clues are dropped that hint at a possible discrepancy between her version of events and the truth. Daryl sniffs out these lies right away, but it’s not until the end of the episode that the audience is completely clued into what actually happened. This use of Lydia as an unreliable narrator is not only a clever narrative device, but it also helps with her characterization. Lydia’s inability to accurately retell events goes from seeming malicious to sympathetic, as the reason for her lapse in memory reveals the true extent of the hardships she’s suffered through. 

The show has often asked how children, like Carl or Henry, who spent the majority of their childhoods living in the zombie apocalypse, would ultimately turn out. Thanks to this season’s time-jump, we get to fast forward through these formative years for an answer to this question. The first half of the season introduced us to the more positive outcome, with a well-adjusted Judith Grimes surrounded by a protective and caring community in Alexandria. Lydia represents the other side of this coin, as the cold realities of the apocalypse turned a sweet, innocent child into everything it represents – dangerous, unfeeling, and utilitarian. We’ve seen many a character lose their humanity at the hands of the apocalypse, but we’ve never seen someone gain it back. If this is where Lydia’s story arc takes her, it should be an interesting ride. 

(Photo Credit: AMC)

So far, I’m enjoying Lydia as a new character, and her storyline could end up being one of the best of the season. There’s a fine line between menacing and ridiculous when it comes to dark and creepy teenage characters; but for the most part, I think Lydia comes across as believable, and it’s this believability that allows her to essentially carry this episode as its main focal point. Not only does Lydia’s development in this episode benefit her own characterization, but because her story is so entwined with her mother, her entire flashback story also functions as a “sneak peek” of Alpha, and helps us become more invested in her as a villain, before she’s even introduced. Alpha and The Whisperers are such a radical group, based solely on the idea that their way of life is the next step in human evolution – it makes sense to explore their transformation within the context of who these characters used to be. This emphasis on character background extends beyond just our new antagonist, though, as Daryl Dixon’s past receives a considerable amount of attention this week, as well. 

As part of this season’s Make Daryl Great Again movement, Lydia’s storyline also serves in drawing out a considerable amount of character development from Daryl. Daryl’s abusive upbringing was a big part of his character in the early seasons of The Walking Dead, but was abandoned around season five when he was separated from Beth, and in general seemed to coincide with Daryl’s overall decline in consistent character development. It is good that the show didn’t make Daryl’s past the sole focus of his character for nine years, but replacing that content with nothing was probably a worse decision. I’m glad to see the return of any kind of personal backstory for Daryl, as long as it means he’s not being ignored, and the fact that it fits in so well with the Lydia storyline is an added bonus. The Walking Dead has been largely uneven with the amount of time spent on giving proper backstories to its characters. If this change with Daryl turns into a trend for the rest of the show, I could see uninteresting filler episodes with shallow character development becoming a thing of the past, and that can only benefit the show as a whole, going forward. 

The Walking Dead Season 9 Midseason Premiere Review: 'Adaptation'

(Photo Credit: AMC)

The Walking Dead

Season 9 Midseason Premiere

By Garrett Yoshitomi

After eleven weeks of winter, Negan emerged from his cell, saw his shadow, and decided winter was over anyway – The Walking Dead returned this Sunday with the second half of its ninth season, ushering in the show’s next big story arc, The Whisperers. The Whisperers are one of the more memorable antagonists from the comics, due to their unique camouflaging technique of wearing walker skins to blend in and travel with herds. We got a small taste of The Whisperers at the end of the midseason finale, and while “Adaptation” might literally rip the mask off of these enigmatic new foes, there is still a lot left to be revealed in the coming episodes.

(Photo Credit: AMC)

Despite enduring some of the leanest ratings in series history, season nine of The Walking Dead paradoxically delivered some of the best storytelling and character development that the show has ever seen. Long-time staff writer turned showrunner, Angela Kang, breathed fresh air into a show on life support, reinventing characters and exploring new and compelling plot dynamics, all while navigating the major cast departures of Andrew Lincoln and Lauren Cohan, as well as the six-year time-jump introduced partway through the first half of the season. It’s not particularly revelatory to point out that The Walking Dead has been starved for some new creative takes, but based off the strength of season 9A, I’d say the writers have earned the benefit of the doubt, and I’m excited to see if the show will continue these positive steps throughout the rest of the season.

Unlike past midseason premieres, “Adaptation” is absent an overhyped, “must see TV” event (Carl’s death, season 8) or a larger than life, special effects-fueled action sequence (the highway scene, season 7). Instead, the show’s ninth midseason premiere relies on patient, if unspectacular, plot development, laying the ground work for the storylines and character relationships that are likely to shape the remainder of the season. Fittingly, this episode picks up right where the midseason finale leaves off, with the dust barely settled from the group’s first encounter with The Whisperers, and Jesus (RIP) still bleeding out on the fog-covered ground of a cemetery.

(Photo Credit: AMC)

The scene that follows is one of the stronger moments of the episode, and the entire bridge sequence is very reminiscent of the “on the road” feel of season five – back when threats could materialize at a moment’s notice, and the group would consistently need to rely on teamwork and a bit of slick thinking, to outmaneuver their enemies. Thanks to some quick planning on Daryl’s part, the group is able to successfully ambush some encroaching Whisperers, strategically turning their walker disguises against them, and even managing to capture one of the Whisperers alive. While new additions, Yumiko and Magna, get some play during this scene, the spotlight largely, and rightfully, belongs to Daryl and Michonne, as these two characters are expected to provide the necessary star power in the absence of Andrew Lincoln, at least for now.

Daryl especially has a large role in this episode, as he takes responsibility for interrogating the captured Whisperer after the group’s joint approach at questioning her initially fails. When I learned that Norman Reedus would be more or less taking over leading man responsibilities from Andrew Lincoln, I worried that Daryl fatigue would inevitably set in, despite being the show’s most popular character. While fans love the silent brooding of Norman Reedus (emphasis on the silent), it’s hard for a show to remain viable when its main character communicates solely through blinks. (And even those are sometimes hard to see through Daryl’s wild mane of hair.) Fortunately, the writers have done an artful job of reinventing Daryl, giving him back the voice that fans fell in love with for its tendency to fight tooth and nail for his friends.

(Photo Credit: AMC)

Reedus’ range is on full display this week, as he switches between the feral Daryl, seen while interrogating the Whisperer, to the more tender, older brother Daryl that we get in his scenes with Henry. However, even lumping the majority of Henry’s storyline into scenes with Daryl does little to help the former’s likeability. Despite showing a glimmer of potential in the midseason finale, for becoming something resembling a root-able character, Henry goes on to do what all child characters do in The Walking Dead– turn the entire fanbase against themselves for their ill-advised decisions from a single scene. It’s clear that Henry is going to be getting a specific path of development that’s given to Carl in the comic books. And, given what we’ve seen of post-time jump Henry so far, I think it could turn out to be a worthwhile deviation from the source material. However, it’s hard to entrust such an important storyline to a character who’s spent the majority of his time on the show at just a notch above redshirt status. In other words, is Henry really a significant, or even likeable, enough character to start receiving a key role in the narrative? As of right now, it doesn’t feel like it.

At this point, if there’s any hope for positive child representation on The Walking Dead, it’s up to Judith Grimes to carry the torch; and so far, she’s off to a stellar start, as her scenes with Negan this week are some of the best of the season. I’ve always been skeptical of reintegrating Negan into the main cast as some sort of anti-hero. I know it’s been a popular story arc in the comics, and Negan has been a great addition to the show, but it is possible to have too much of a good thing, and Negan’s propensity for snark and pretense is the type of characterization that gets old quickly (and some would say it already has).

(Photo Credit: AMC)

However, just like the show has been able to pivot with Daryl’s character in order to avoid overexposure, the same kind of retooling could do wonders for Negan’s longevity. Pairing the former leader of The Saviors with the precocious Judith is a good start, as Jeffrey Dean Morgan’s effortless charisma plays quite well with the no-nonsense attitude of a child born of the zombie apocalypse. And, it is refreshing to see Negan work with someone who isn’t a sociopathic murder lover, for once. Just don’t squint too hard at the details because as great as their chemistry is, it’s still a pretty unsettling dynamic when you consider the fact that Negan seems on his way to becoming the surrogate father to the little girl whose actual father he tried to kill several times. As much as Rick believed in moving past the war and forgiving The Saviors, it seems unlikely that he’d be okay with his daughter buddying up with his arch nemesis. Rick spared Negan, yes, but it was only so he could live out the rest of his days in a prison cell.