I am bigger, I am badder, and I got a bat.”Īnd for a moment it looks like he will. The two men battle each other, each sustaining wounds.
Rick chases Negan down the hill, running out of bullets himself and breaking some pretty stained glass hanging from a lonely tree. Maggie accepts the Saviors surrender and Rick takes off after the only remaining loose thread.
With absolutely no firepower to speak of, the battle is pretty much over before it began. Eugene has sabotaged all the bullets he made for the Saviors. He decided that maybe Gabriel had the right idea screwing up those bullets. After Rosita chewed Eugene out and he puked on her in response, Eugene took a hard look at his life and his new friends. They’re so fucked in fact that it becomes far too guessable how they’ll get out of this jam moments before it happens.
Rick and friends really do look well and truly fucked. That’s pretty cool stuff, even for a show that has literally two possible moral settings and thematic outcomes.Īlso cool is how the battle is won. After the war is over and the Saviors have surrendered, he gestures to the horde out on the distance and says “That’s the dead. Rick Grimes has never been the greatest orator or most poetic soul but even he is moved enough to recognize the setting’s significance. There is the setting of the final battle – atop a lonely hill where miles away the largest horde of walkers ever witnessed can be scene, shuffling around like a mirage. There is the flashback of a pre-apocalypse Rick and Carl walking down a dirt road, happy and unconcerned. It was a visual that imparted uncomfortable feeling sand drove home a message of “even through all of your bullshit, an uncaring world marches on.” Through its visual language showing something so silly and seemingly unimportant, The Walking Dead was able to communicate something far cooler than its weird “killing: y/n?”obsessive philosophy. Then after an entire episode of violent, stressful shenanigans, Rick and Shane drive back to Hershel’s farm and on their way see that same lone walker, stumbling through the field having made virtually no meaningful process. One of my favorite random Walking Dead scenes is two brief shots of something I like to call “existential zombie.” They occur in season two’s excellent “18 Miles Out.” Rick and Shane (remember him?) are driving to find supplies when they see a lone walker, stumbling and struggling to make it through and open field. “Wrath’s” greatest asset is its unashamedly artful visuals. It will continue to swing back and forth. There is too much story left and the show’s only storytelling technique is that meter. Intuitively we know that the epiphanies about non-violence the characters come to aren’t going to stick. When taken as part of a whole, The Walking Dead Season 8 finale is a failure. But all the swinging back and forth from answer to answer dilutes the question. It’s not a question we should mind seeing on a cable show about zombies. The thing is though – that central question “when is it OK to take a life?” is kind of a big one. If it could ask better questions than “is it OK to kill?” it would have asked them by now. Thematically The Walking Dead is little more than a Philosophy 101 lesson over and over and over again.Īt this stage in the game that’s not going to change. It’s never a notch below either side and it’s never in the middle. Sometimes the meter swings far to the left and sometimes it swings far to the right.
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