The human race commit atrocities it eventually forgets. For whatever reason the thought lingers as I watch the fifth season premiere of The Walking Dead which plays as if it is set to lure its audience back. The episode is the hell of red, riddled with maimed Walkers, gnawed faces and spattered skulls. Something that is missed dearly in last year’s flawed if intriguingly subdued season (see: “The Grove”). But why—of all—this thought?
I have a few ideas: one is that the fourth season ends with an uncompromising cliff-hanger which finds Rick (Andrew Lincoln) and his group trapped in the purported “sanctuary” called Terminus. The follow-through only needs to level a few bars higher than the ‘hanger itself and voila!—forgiven. Another is perhaps because the episode itself plays like a film set in a war, which as we all know make endless opportunities to commit inhumane crimes and murder a sample of the world population (which in The Walking Dead’s reality is rapidly dwindling). The way the Terminus victims are gushed by the neck, the bodies blistering after the explosion of the chemical tank, the moral distress Tyreese (Chad Coleman) is put when a naturally cynic cannibal (Chris Coy) raises his eyebrows and snickers at his sentimentalism and inability to do what must be done—they all play like events from only a circumstance as hellish as a war. And maybe “No Sanctuary” is only a few points shy to being an allegory of the Nuclear War, the Genocide or whatever hellscape the show is trying to depict, but the entire effect of it is both a service to the fans and a pinch to the heart.
The episode is aptly centred on Carol (Melissa McBride) who is still the character that makes most sense whilst remaining complex. Quite simply, she needs what needs to be done and at least has a real lick of sense of what actually needs to be done. It is a shiner for her character which based from the comic should have been gone seasons back. Yet there is something profound in the loss and rediscovery of purpose for a mother as kind-hearted as Carol are. The heart is still with her but she wears it with blood-shot leers, dead as the Walkers.
“No sanctuary,” says the sign toward the end of the episode. It is a fatalist affirmation that there are indeed no sanctuaries in this dystopic world. Like the atrocities the human race forget, Terminus will be one that will exist in Rick and his group’s individual histories. Cursed as it sounds, they circle back and forth to a Terminus of one form or another.
Next Episode’s Promo:
Stray Observations:
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- Carol and Daryl’s (Norman Reedus) reunion is the sweetest. The way the scene lingers at them jolts you back to their irresistible moments before Carol is secretly banished by Rick from the group. Except there are speculations about his sexuality nowadays. Is he gay? Where the hell does this fan theories come from?
- Speaking of, the closing scene of the premiere reveals a group of rapists who physically abuse those who have taken over Terminus (Gareth and co.)
I fear that these people has Beth (Emily Kinney). So there’s your obligatory “where-the-fuck-is-Beth-Greene” question. And no: I do not think she has gone to make the last signing record deal. - So the cure has been vaguely expounded upon. Ha! Who cared?
- Glenn be like: no, that’s not us. We can’t let them die! *playing the heroic type. Rick be like (after studiously escaping the fallout of Terminus): uh, bitch, na-uh. We need to get back there. They don’t deserve to live. Let’s go back. I get more attention!
- Classic diva = Rick.
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THE EPISODE IN ONE QUOTE:
And we fought and we got it back. And we heard the message: “you’re the butcher or you’re the cattle.”
~Mary
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