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The Walking Dead's Big Unscary F U


The revamped BATTLESTAR GALACTICA from 2004 was, warts and all, one of the best tv series of its kind and from its first season to its last, its remarkably talented creative team always struggled to fit into a mere hour-long timeslot all the great material they'd cooked up. As great as a given episode would be, the deleted scenes would break your heart. "Damn," would begin my perpetual reaction upon seeing the cut material, "why couldn't they have gotten this into the show somehow?!" It was usually just cut for time. One wishes BSG had been allowed to exceed its allotted hour a lot more often than was the case. These days, THE WALKING DEAD is quite often given that liberty--eps routinely run five minutes, fifteen minutes, even half an hour beyond their regularly-designated allotment--but TWD is a show whose creators can barely even fill the regular hour they're contractually obligated to deliver. It has been one of the most filler-packed series television has ever seen and one of the real curiosities about its extended episodes is that virtually none of them[1] are jam-packed with lots of things happening that couldn't be cut without causing serious narrative harm. They tend, instead, to be the ones in which the least actually happens. That's the case with "The Big Scary U," tonight's installment, which pulls back from the more action-packed eps of the season to date to deliver what amounts to a glorified bottle episode that was nevertheless allowed to run for 75 minutes.

Tonight's a-plot takes place almost entirely at Negan's headquarters, now overrun by zombies. In a trailer outside the main compound, Negan and then Father Gabriel have taken shelter from the dead. That happened over a month ago and we haven't seen them since.[2] Back then, Gabriel dove into the trailer and Negan, who was already inside, announced his presence with his usual campy swagger. Gabriel was carrying a fully-automatic rifle, a pistol and a long knife but the force-field from the villain's plot-armor left him paralyzed and he did nothing, even as the villain threatened him. We rejoin the scene seconds later and Negan charges up to Gabriel, knocks him down and disarms him. The cold opening ends with a provocative notion; Gabriel suggests he's there to take Negan's confession. This set-up would have been an opportunity for the writers to try to humanize the awful cartoon they've made of this character. Unfortunately, they just take a pass. We learn merely that Negan once perhaps worked with children in some entirely unknown capacity and was married prior to the apocalypse. And we get to hear him do more of his usual posturing.

Rick and co. brought a small army to Negan's door at the beginning of this season. They had Negan and the entire Savior leadership in front of them at near point-blank range and with no cover and declined to simply kill the villains on sight. Gabriel didn't kill Negan when he dove into that trailer and had the opportunity. Later, when the writers have he and Negan remember the old cover-oneself-in-zombie-gore trick which will allow them to escape the trailer and walk unmolested among the dead,[3] Gabriel has a pistol he recovered from Negan. Again he doesn't shoot the guy. He even offers to give back the gun! And Negan allows him to keep it! Covered in grue, Gabriel could have plugged Negan and just walked home. Instead, he helps Negan get back into the main compound and becomes his prisoner.

A problem that has plagued TWD for most of its run--and that I've covered here over and over again--is how its writers make every progression of what passes for plot entirely dependent upon the characters being complete idiots with no sense of self-preservation. Even as the writers were giving Gabriel these further opportunities to take out Negan and having him decline to do so, they decided to further rub viewers' noses in the indefensible idiocy of this. Inside the main compound, there was much dissension among the Savior leaders; without Negan, they argue, jockey for position, challenge one another are are on the verge of completely falling apart and when the workers, kept in check by Negan's terror regime, begin to revolt, they're entirely incapable of dealing with the situation, all of which just underscores how killing Negan would, to a large extent, solve the Savior problem...

The rest is here:
http://cinemarchaeologist.blogspot.com/2017/11/waking-dead-99.html

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People love filler packed, standardised shows as they can have the TV on, while they do chores, check their social media accounts, eat meals and generally not pay too much attention and just relax in front of the TV...

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See, it’s shit like that I never understood. When I watch a movie or an episode for the first time, it’s to invest my time in the world or story unfolding before me. If I wanted background noise while I do chores, check social media, eat meals and relax, I put music on or something i’ve seen numerous times before.

Meanwhile, people I know claim to still watch this show and love it, while I had given up before season 7. Last night I hanged out with a friend when it was on, and they’re doing anything but watch the show. To fuck with them, I watched it, and at the end started asking them questions that they would only know if they watched the episode. And they surprised the shit out of me when they couldn’t even name any of the main characters. I haven’t watched the show since season 6. Occasionally I’ll look the show up to stay current, because I did love it once. But after about 2 years, I can remember Gabriel and Eugene’s names still. Meanwhile, they watch it live and don’t pay attention at all to what’s going on, yet they call themselves fans. It’s really confusing why anyone does this.

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And to think that this kind of people keeps making the ratings high and thus the quality low. Gee thanks...

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I'm a bit like you as well... I tend not to multi-task much...

I find that watching movies suits me better as movies are made for considered viewing, as a lot of things are communicated by camera, editing and visuals, not just dialogue... Also there is usually less filler as movies are only two hours long...

I put cooking and travel documentaries if I ever need something to watch while doing menial work in the house, or routine mindless work on my laptop (e.g. organising my photos, etc...)... But usually it's just music...

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Yep, pretty much agreed. TWD's problem since Season 4 began was featuring episodes that focus on certain characters or a handful of side characters, instead of all the major characters. Where the heck is Maggie? Where the heck is Michonne? Where the heck is Rosita? Where the heck is Carl? It's so stupid. Could you imagine if TWD Season 1-3 had focused on single characters per episode? It just wouldn't have worked and the series would have been cancelled early.

Imagine Hershel's farm if an entire episode takes place from his perspective alone. Feeding the cows, riding the tractor, perhaps a little hunting in the woods, pondering faith and life post-outbreak. Meanwhile we, the viewer, are left completely wondering what is going on at the RV and Base Camp out in the distance behind Hershel? Then the next week, the entire episode takes place from Hershel's point of view again. This time he's in his study in the house, writing memoirs, and beside him we see the window and out the window we see Dale sitting on top of the RV, and that's it. A month passes and finally we find out what's happening at the RV and survivor base camp.

I really want someone, when this entire series is done, to re-cut every single episode Season 4 and beyond and have it flow the way the earlier seasons did, where each episode features ALL the major characters. The Morgan exclusive episodes from the other season could have been so much better if we would have seen what was going on with the other survivors while Morgan was out on his own.

We had to wait a month to find out if Gabriel had his shitting pants on, and when we finally get to the actions and dialogue that takes place after Negan asks if he has his shitting pants on, there's no sign of anything that would have Gabriel make sure he has his shitting pants on.

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"Could you imagine if TWD Season 1-3 had focused on single characters per episode?"

To be fair, atomizing the group in this way began with season 2--Rick and Shane driving off into the middle of nowhere. Season 3 had Andrea and Michonne in Woodbury, then Rick, Michonne and Coral returning to Rick's hometown. The practice has become more prominent in more recent seasons because the cast is getting more money; the longer they've been with the show, the more they can demand. Reducing the number of eps in which they appear (and the amount of work they do in general) is a money-saving measure. Season 1 vet Coral hasn't appeared since the first few minutes of the season opener. Season 1 vets Rick and Daryl only appeared in the last two eps in what were basically cameos; one scene last week, two this (three if one wants to count Rick going up the road toward the end).

To be fair, a well-written show could make great use of these sorts of atomized eps. TWD has even done some good work with them ("Clear", "The Grove"). Z NATION did some great Doc eps and Addy eps last year but ZN doesn't lose the narrative like TWD; it never leaves you waiting so long that you forget what was happening elsewhere.

That's the real problem with TWD when it comes to this, not the atomization per se; it's the fact that no one working on it knows how to properly pace a show. That's been an almost constant problem from season 2 forward. The show just draaags. So when the characters break up too, you get the current mess. At the end of 5 eps, this season so far has only covered a few hours of one day.

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I've only seen one episode of TWD, and it was this year. Fully agreed -- "Filler" or "stalling" is the only way I would ever describe what I saw. I watched it for the entire hour, and there was MAYBE ten minutes worth of content, MAYBE. I was so bored. It moved as slowly as possible and barely anything happened.

The entire episode could have been done in two sentences for an opening text at the beginning of the episode after it.

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