Carol’s transit from small to major character is, as is the normality in the series, especially ugly, having to witness the true death of her daughter as a walker. There is a precious moment in this week’s “Consumed,” which resonates that loss deeply but the show is past the naiveté of mentioning. It is a scene I personally hold dear: silhouettes of two walkers, presumably mother-and-child, rap on the steel door of the safe centre Carol and Daryl is currently holed-up in. It is a tragic moment that could have been handed very heavily, but The Walking Dead is now at a point where it knows when to only very subtly hint information. That scene almost plays like a reminder for both Carol and us, the audience, like we have gone through that past with Carol, as we indeed have.
It is delightful that the series remember. That the series knows. In a new world that has been all about survival and, to steal words from last week’s episode, “rolling on,” one can only think how much memories these survivors eliminate, how much of themselves they leave behind, but only leaves a void inside of them. They never truly part from the things they wish to let go. Carol is the quintessential character for this narrative angling.
Six episodes in to Season Five, Carol has fully metamorphosed from being a battered wife to a real team-player. It is interesting: take away from a woman her greatest purpose (I forever believe it is motherhood), and it opens a lot of second-best ones. There are unfillable voids in every TWD survivor, but Carol, so far, is the most heart-breaking. At least to me. The scene in question ends with Daryl burning the corpses of the said walkers—a poignant gesture, and reminder why he is universally the most likable character in the series. Of course this is not to imply that we like him because he is a good survivor; we like him because he is such a clean slate. It is only now that Daryl discovers the deeper meanings of life, thru his folk, their gains and losses. He is half of the reason why “Still” remains one of the better episodes in the history of series; his exchanges with Beth, compelling.
The episode, in the whole, is a deeper scratch on the surface. You don’t really want to go as deep to the core, because that will flush all mystery the series studiously sustains. Carol’s is as good as texture it gets, but boy, how you want to pierce past that. These clever characterization choices move episodes like “Consumed.” They are fragments of the survivor’s humanity so that when the external threat of the outbreak it is more tense and effective.
Speaking of, the episode returns to Atlantan cityscape, of course, now zombie-ridden. They run into Noah twice. The second time explains Episode Three’s cliffhanger and serves as a great conflict to affirm these little voids and much of life the outbreak makes and takes away. Next week’s episode will see the aftermath of all the season’s recent, intertwining arcs. It is rather alarming, however, to know that things are building up in yet another all-out bloodbath; it is getting quite repetitive. Unless Scott M. Gimple brings a new spin (he has done good so far), the series will walk tightrope after the mid-season finale.
Tell us what you think of this week’s episode!
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Next Episode’s Promo:
Stray Observations:
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- What is up with that book? Does that hint Carol’s history as a molested child?
- Touché on the Mark Twain reference, show runners.
- Awesome car jump, too.
- The series seems to be gearing up for a final battle; I fear Beth will be this season’s Andrea. I mean, what is The Walking Dead’s problem with blondes?
- If rumours are to be trusted (at this point, they prove not all the time correct), Beth could die at the mid-season finale. Do you think we had enough of her? Or are there more in her character to be explored? Drop your thoughts in the comments below!
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THE EPISODE IN ONE QUOTE:
“The reason I said we get to start over…is because we gotta.”
~Daryl Dixon
(Norman Reedus)
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