AMC airs ‘Saul’ Sneak Peek

AMC aired a very small taste of Better Call Saul, its upcoming Breaking Bad prequel, during tonight’s midseason finale of The Walking Dead. AMC has a lot riding on the new show as they haven’t been able to capitalize on Breaking Bad‘s stunning success beyond Mad Men (ending next spring) or The Walking Dead despite many high profile and prestigious shows like Turn or Halt and Catch Fire.

The sneak peek does give fans of the original show some reassurance that the new show will deliver by returning to many of their favorite Breaking Bad characters. In it, Saul (Bob Odenkirk) has a brief skirmish with Mike (Jonathan Banks) over parking.

For those who missed the clip, AMC has made it available on their website with additional detail about the hotly anticipated series.

Better Call Saul will have a 2-night series premiere on February 8 and 9, 2015.

The Walking Dead: Not So Eternal Life

The Walking Dead begins its midseason finale, appropriately titled “Coda,” with a lot of running. Officer Bob, last seen knocking Sasha unconscious, is now fleeing not only walkers steadily in pursuit but also Rick Grimes, hot on the heels of his presumed bargaining chip with Grady Memorial’s Oficer Dawn.

Unfortunately for Officer Bob, Rick doesn’t fuck around. Rick jumps in a police car and takes the chase from on-foot to on-wheels. After one warning, Rick violently plows into Bob, most likely breaking his spine and paralyzing him. Just before Rick shoots Bob in the head, Bob warns them they will all die.

“Shut up,” Rick eloquently responds. After a bullet to the brain.

If this setup didn’t tell you that the midseason finale meant business, then you’re not paying attention. They’re broadcasting it loud and proud.

Next, we return to Father Gabriel, last seen fleeing a religious zombie in the woods. Gabriel finds the abandoned, walker-filled elementary school last occupied by Gareth and his merry band of cannibals. We even get a glimpse of a (Bob’s?) severed leg roasting on a formerly open fire. Gabriel hangs out long enough to lure enough walkers and give them time to break through the glass door. He then (brilliantly) lures them back to the church where Michonne, CAR-UL, and baby Judith are holed up. Of course, they are no match for the roaming hoard, and they lose the only shelter they had. They do manage to trap the zombies in the church and escape through the hole Gabriel left in the floor.

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The best sight gag in the episode happens here as the walkers saunter down the church’s aisle. Written above the alter just over the walkers is a Bible verse: “He who eats My flesh and drinks My blood has eternal life.” Sometimes, it’s the small things in life that give me pleasure.

Waiting outside for a new plan, Father Gabriel and gang are saved by Abraham and his massive, bloody fire truck. They reunite, hug, and share the joy with Maggie that Beth is alive and holed-up in Grady Memorial.

Speaking of Grady Memorial, we get a couple of interspersed scenes back there of Beth chatting with her new BFF Officer Dawn, but these don’t (yet) have the gravitas and thrill of the others. They’re clearly trying to humanize Dawn as she struggles to maintain order and control over the hospital. Another cop eventually challenges Dawn, attacking her in a brutal fistfight. Beth steps in, and the two women overpower the attacking cop. Dawn allows Beth to push him down the open elevator shaft, making that a grand total of two cops that Beth has now killed. Remember, she let walker Keisha Castle-Hughes maul the rapey cop a few episodes back.

Carol and Michonne are not the only badass bitches on this show.

Ah, Carol. Just when I thought she was due another epic, “Grove”-level episode, we continue to be served a big plate of Carol’s unconscious and near-death. Beth still watches over her, but when Office Dawn comes in to continue their bonding experience, the dialogue alone would kill Carol if she weren’t already in a coma. Just as Dawn and Beth finish, though, Carol starts to stir, wincing in pain from the tortured exchange between Beth and Dawn.

Outside of the hospital, Rick approaches Grady Memorial to bargain for the exchange: Carol and Beth for the two captured officers. In case they didn’t take him seriously, a walker slowly approaches from behind only to be sniped by Sasha from her nearby perch.

Apparently, the ploy seems to work as our next scene involves the exchange inside the hospital. They start the exchange one for one, Carol first, then Beth. Things seem to move smoothly until Officer Dawn asks for Noah, which was against the original deal. There’s an increased tension until Noah agrees to go. Sweet Beth – sweet, sweet Beth – wants to say goodbye to Noah and give Officer Dawn a parting gift by stabbing her in the shoulder with a pair of scissors.

By instinct, Officer Dawn shoots Beth clean through the head, killing her instantly. Without a second thought, Daryl achieves retribution by shooting Officer Dawn in the head, thereby officially ending the Grady Memorial plotline with both a bang AND a whimper.

As a midseason finale, “Coda” wasn’t quite the shocker that season two’s midseason finale was (the second death of Sophia). Beth’s death is another in a now long-line of sad departures that have come to define the show. She was never really critical to the show – certainly not one of the seemingly untouchable core group that consists of Rick, Michonne, Daryl, or Carol. Nonetheless, it was a sad ending, one met with real tears by the tight-knit actors.

When the show returns in February, we will most likely miss the innocence and positivity that Beth provided. The remaining crew… well… they’re all dead inside anyway.

‘Grumpy Cat’ and Plaza Provide Twitter Comedy Gold

Lifetime’s holiday entree Grumpy Cat’s Worst Christmas Ever premiered tonight to largely (and unsurprisingly) terrible reviews. More surprising is Parks and Recreation star Aubrey Plaza’s reaction to the film on Twitter.

Plaza, known for her sardonic sense of humor, provides the voice of the titular cat – something that has bewildered me since the project was announced. Lifetime holiday movies always seemed like the kind of thing Plaza would skewer mercilessly. Somehow, my world felt askew with her participation in the project.

Tonight, the cosmic order was restored when Plaza unleashed an epic string of comedy on Twitter during the film’s premiere and embraced the film’s awfulness, helping the film to trend on Twitter.

 

 

Those are but a few highlights of what proved to be an incredibly amusing night on Twitter. Missed the movie, though. Sounds like I didn’t miss much. OR I missed the best thing ever.

Please feel free to share your thoughts below.

Lifetime continues to air ‘Grumpy Cat’s Worst Christmas Ever’ through the month of December. Check local listings for airtimes. Or don’t.

SNL Recap: “Black Annie” Looks Better than Cameron Diaz’s New Movie

Last week, I accused the SNL writers of suffering from lack of follow-through, and this week they seemed to listen because most sketches had beginnings, middles, and ends. Maybe it was the influence of the wildly funny host Cameron Diaz, who seems to fit in with the cast as well as her ex Justin Timberlake.

Even the cold open was funny, as a take on Schoolhouse Rock! and immigration reform (although it apparently got a lot wrong about the actual politics).

As for Cameron Diaz’s monologue, nothing took place as substantial as having a cameo from Jennifer Lawrence. Diaz took questions from audience, like “Was it fun making ‘The Other Woman’?” (Probably more fun than the sorry bastards that had to watch it.)

As a pseudo sequel to 2013’s “(Do it On My) Twin Bed,” this year the SNL females presented “Backhome Baller” which celebrated the joys of coming home for the holidays and having your parents wait on you. The skit was clever, but not as exciting as last year’s showcase for the SNL ladies.

The “Black Annie” sketch made me wish that Leslie Jones actually was starring in this movie adaptation. She offered a street-wise take on Annie Warbucks, with Jay Pharoah offering a spot-on impression of Jamie Foxx.

The “Nest-Spresso” short was reminiscent of the comedy done on “Portlandia,” only not as clever. Instead of “Put a Bird on It,” it could have been called, “Put a Bird In It,” as the sketch revolved around an espresso-like machine that incubates eggs and turns them into chicks.

Kenan Thompson has been in a lot of sketches this season, and in each one, he seems to get all the laughs, as he did in the “High School Theater Show” parody of a bad high school play.

“Weekend Update” was interesting because it continues to seem like two dueling comedic banjos strumming against one another. On one side, there’s Colin Jost, with his deadpan stare and delivery. On the other side, Michael Che, who infuses a bit of his “Daily Show” snark into reporting. This week had its highs (Kate McKinnon’s Angela Merkel) and lows (a “Rizzoli & Isles” joke bookended with a “Your Mama” joke), and ultimately, it seems like this section of the show is a work in progress.

The “Man Baby” sketch is one of the few recurring characters on the show, and this appeared to be the first time we saw Beck Bennett’s man with the body of a baby outside of the office. But despite Bennett’s dead-on interpretation of an infant, Cameron Diaz is the one who stole the show in this skit. How’s she never breaks character is beyond me.

As mentioned before, this has been Kenan’s season (maybe because it will be his last), and “Dr. Dave and Buggles” worked because of the animals and the ridiculousness of Kenan’s character having to do another 9 episodes of a show with the monkey that tore his ding-a-ling off.

Kyle Mooney is attempting to fill the void left behind by Andy Samberg, but I’m just not sure it’s quite the same. “The Fight” seemed like something from MTV’s cutting-room floor, with its narration of a high school student attempting to battle his arch-nemesis played by Beck Bennett.

Vanessa Bayer gets a lot of attention for her Miley Cyrus impersonation, but her “Poetry Class” teacher is one of my favorite characters, if only for her nonsensical exclamations before she starts another sentence. Watch for Pete Davidson in this skit, whose reaction shots are just about as funny as Bayer.

The final skit of the night, “Night Murmurs,” followed a hotline of women who would do stuff for you if you would in turn help settle their bets, kill Grandmas, and take “packages.” Kate McKinnon steals this skit from the equally game Diaz and Cecily Strong.

What did you think of this past week’s episode? Will you miss Kenan Thompson at the end of the season?

The Walking Dead: GREATM

The Walking Dead episode seven, “Crossed,” starts with multiple characters dealing with grief and loss. I know, that’s not exactly a revolutionary way to describe an episode of the series considering how often it explores that theme, but this beginning was exceptionally telling.

With the exception of Father Gabriel Stokes and Sasha, Rick and company are up to their usual routine, fortifying Gabriel’s church against potential intruders using pipe organs and wood cut from the pews. Sasha intensely cuts into the pews, chopping through her grief with a focused intensity. Father Gabriel, the seemingly sane one of the group, tours through the construction and wonders if they would repurpose the church’s cross.

“If we need it,” Daryl ominously replies.

Back inside, Gabriel notices the dried blood from the fight with Gareth’s cannibals. Echoing Lady Macbeth, he tries to clear a spot, scratching on the floor with his fingernails. Sanity is but an illusion, I suppose.

A few scenes later, Carl (CAR-UL) engages Gabriel and tries to teach him the benefit of knowing self-defense with Michonne watching carefully. Gabriel can’t handle it, further demonstrating his prolific weakness. Or so we think…

We briefly return to the Abraham / Eugene scene where Eugene remains unconscious, and Abraham remains near catatonic, his sole reason for living now gone. There is a nice scene where Maggie shows she’s not afraid to “put him down” if he falls out of line. She later continues to provoke him, urging him to get over himself because it won’t get any better than what they have at that moment. Other than that, it was a throwaway moment. We did discover that the gang refers to themselves as GREATM using the first letters of each name to distinguish their water bottles. Kinda cute.

Rick takes a small band of his group to Atlanta to rescue Beth and Carol, who remains unconscious in Grady Memorial. Officer Dawn and the officers holding court there have proclaimed Carol all but dead, leaving instructions to remove her from life support. For vague reasons dedicated only to furthering the plot, Officer Dawn gives Beth the key to the drugs and puts her in charge of saving Carol’s life.

Outside, Noah draws two officers outside into a trap. Rick and company are about to work a deal when another car ambushes them and rescues the captured cops. That victory is short lived when the getaway car plows into a field of zombies in various states of decay. The Most Gruesome Moment of the Episode award goes to Daryl who uses the head of a snarling zombie to bash an attacking cop in the head.

Capturing the three cops for leverage, Rick intends to bargain for Carol and Beth. The cops, however, quickly reveal that Dawn is “on her way out.” One of the officers – a more reasonable, less rapey (hollaback to the first Grady Memorial episode) cop – indicates there’s another way, and he’s willing to help them find it. This cop, however, manages to talk Sasha into freeing him long enough to overpower her and escape by the end of the episode.

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Wrapping up other events, Father Gabriel uses the machete CAR-UL gave him to break his way out of the church through the floorboards. After stepping on a nail, he wanders through the woods until he’s attacked by a snarling female walker. He manages to free himself, pushing her down on a tree limb, but cannot smash her head in with a large stone because she’s wearing a cross. Clearly, suffering on the forest floor with her intestines hanging out is justifiable if she’s wearing religious iconography. I know a little about Father Gabriel from spoilery reading on the internet, but I’m not a huge fan of his. It’s a realistic and legit interpretation of the character, but I do find it slightly annoying.

We return once more to the Maggie / Abraham intervention scene where Abraham finally starts coming out of his state. Eugene regains consciousness, and Glenn and others return from their completely uninteresting side journey to look for water. They find something hidden in a backpack, but we’ll have to wait until next week to figure that one out.

This sets the stage for yet another presumable Battle Royale during next week’s midseason finale. I dunno, maybe it’s the weather or maybe it’s just me, but I’m feeling a little fatigued with all of the wars these people keep waging. It’s almost as if it would be more surprising if the various survivors didn’t actually just shoot each other to claim supremacy in this zombie apocalypse.

Five seasons in, just blowing everybody away is getting a little passé.

How to Get Away with Murder – Faster, Law Students! Kill! Kill!

Do you hear that? That’s the sound of me tooting my own horn. As a person who is rarely right about mysteries, I have to congratulate myself on a mid-episode prediction for the winter finale of the first season of How to Get Away with Murder. We finally found out who killed Viola Davis’ nasty, philandering husband, but there was one more twist on the way. ABC couldn’t possibly allow us to go through the holidays thinking everything was wrapped up, right?

Who killed Sam?! Who killed Sam?! Who killed Sam?! This phrase was floating around for the last three weeks, and the audience was just salivating to find out who smacked Sam over the head with that trophy. The beginning of the episode picks up exactly where we left off: Annalise reveals to her husband that she called the district attorney and called for all of Lila Stangard’s professors to provide DNA. In the hunt for the baby daddy of a dead girl, one cannot leave any penis unturned.

The confrontation between Sam and Annalise might be the most explosive of the season, and that’s saying something. Surely, I am not the only one in thinking that we were going to find out who killed Sam at the very beginning, right? Annalise throws her affair with Nate in Sam’s face (finally!), he slams her up against the wall, and he delivers an acid-tongued tirade calling Annalise a “good piece of ass” and a “disgusting slut.” No one is sad to see Sam go. It’s a great opening to an already buzzed about winter finale.

Oh, you’re still wondering who killed him? Michaela shows up to turn in the trophy, but Annalise isn’t home. As she talks to a drunken Sam, he catches Rebecca trying to get upstairs to steal information from Sam’s laptop that will prove that he killed Lila. He chases after Rebecca, she locks herself in a bedroom, and a frantic Michaela calls the rest of the Keating Clan for backup. Ah, the scene is set. Right when you think everyone has calmed down, Sam lunges towards Laurel, and Michaela shoves him over the railing on the staircase. He lands with a crunching thud on the first floor, and everyone starts re-evaluating their home renovations. The students think he’s dead but, moments later, he’s alive and strangling Rebecca on the floor. And that’s when Wesley Gibbons—Captain Wait List—strikes Sam over the head with the trophy.

After Sam officially bites it, the timelines converge, and How to Get Away showcases a lot of the material we watched in the previous eight episodes. There are some new tidbits, though, that prevent this from becoming a total recap episode. Bonnie made out with a forward gentleman at a bar before she decided to call Asher for that booty call (“I’m a grown ass woman who knows what she wants when she wants it. Now get over here”), and Annalise hooked up with Nate in a scene that will be responsible for all the immaculate conceptions across the country.

What’s the twist that I called halfway through the episode? There were an abundance of theories online regarding Sam’s death. How to Get Away is the show of the fall season that blows everyone’s minds every week, so I decided to go out on a limb and predict something about the murder of Sam Keating. I texted fellow ADTV contributor in the middle of the episode and asked, “what if Annalise asked Wes to kill her husband?” At the very end of the episode (after Annalise calls her loyal students into her office to warn them that the police are going to ask them a lot of questions regarding Sam and Lila), Annalise thanks Wes, and the action flashes back to the night Sam was killed. Wes went back to the house to collect the trophy, but Annalise was sitting at her desk, her husband’s bloody body still sprawled on the floor. I’m not sure if I will be able to shake Davis’ facial expression off my face for a while. Wesley Gibbons—everyone’s least favorite character on everyone’s favorite new show—was appointed by Annalise to kill her husband. Hope he’s getting an A for the rest of the semester.

THAT’S how you leave your audience wanting more when you don’t come back for 2 months. Take note struggling shows.

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Amazon and Netflix To Join the Nielsen Game

Internet content providers Amazon and Netflix will soon enter the Nielsens race, according to an article published in The Wall Street Journal. This means that hot, critically acclaimed content such as Amazon’s Transparent and Netflix’s House of Cards and Orange is the New Black, among others, will finally measure up against their higher profile network cousins.

The data, however, will not be provided with the cooperation of online streaming services. Instead, according to the Journal, Nielsen is planning to measure streaming content by analyzing the audio from digital streams. The method does not incorporate the assumedly large mobile and tablet streaming audience.

This news is huge and could prove incredibly significant to the overall awards attention of these series. If for some reason the series prove significantly less popular among viewers than previously imagined, then their overall reputation could suffer as a result.

Basically, if they’re not positioned as ratings winners, then they instantly become ratings losers, and nobody likes a loser – particularly awards voters.

Historically, Amazon and Netflix only vaguely referred to ratings for their influential and popular online content. According to the article, Netflix and other online streaming providers are available is as much as 40% of American households.

Originally founded in 1923, the Nielsen Corporation tracks a broad array of consumer viewing and purchasing data in over 100 countries. It’s Nielsen Top Ten has been widely circulated since the early 1950s.

Capaldi to Return as the Good ‘Doctor’

Scottish actor Peter Capaldi will return to the BBC series Doctor Who for a ninth season, according to an article posted in today’s Hollywood Reporter. The actor marked the twelfth version of the Time Lord Doctor Who.

Initially appearing in the 2013 Christmas episode regeneration of Doctor Who, Capaldi marked something of a return to critical acclaim for the series, which maintains an 80 on Metacritic. The series also saw a 23 percent increase in U.S. ratings, according to the article.

What is not clear is the fate of Jenna Coleman as Doctor Who’s companion Clara Oswald, a role Coleman maintained for the past two years.

No doubt Coleman’s fate will be hotly debated up until the premiere of the season-ending Christmas episode.

 

Saturday Night Live: We Know What’s Being Used in the Writers’ Room

While one of Hollywood’s most notorious stoners hosted “Saturday Night Live” last Saturday, it was the writers who seemed to be under the influence of marijuana. Not only was the topic included in Woody Harrelson’s monologue, but many of the sketches seemed to suffer from what so many burn-outs get chastised for: no follow-through.

First, there was the cold open, with Obama (Jay Pharoah) and Mitch McConnell (Taran Killam) sharing drinks following the midterm elections. While Killam does a fine job, I much prefer the Mitch McConnell impression performed on “The Daily Show,” which usually includes a turtle.

These days, cold opens are living up to their monikers. They don’t warm you up for laughter.

In his monologue, Woody Harrelson performed a song about 1989, since that was the last time he hosted, and in order to sing the song, he got his Mockingjay co-stars (all born AFTER 1989) to help him sing, including Jennifer Lawrence. If she ever hosts SNL, we got a preview of what we’re in for: flubbed lines and giggling (she must have trained under the Fallon method). But because it’s J.Law, it’s adorable.

It’s interesting that SNL’s “The Dudleys” sketch, about a CBS sitcom that seeks help from Twitter commentary, didn’t poke fun at NBC instead, considering CBS knows what its audiences want and NBC clearly doesn’t, given its ratings. In the sketch, the family of four—mom and dad and two daughters—evolves into two gay dads—one black, the other white—and two daughters that include a staff sergeant off to Afghanistan and Crazy Eyes from “Orange is the New Black.”

The next sketch “Match’d,” about an MTV dating show where the father of the prospective date hosts, was pretty weak, except for Kyle Mooney, whose “Yes, sir” responses were some of the most genuinely funny work I’ve seen him do on the show.

However, despite SNL’s failings with political humor, its “New Marijuana Policy” sketch was actually pretty funny commentary on New York’s 25 grams law. Stoners like Pete Davidson came out of hiding and took to the streets of New York City, only to realize that while they can possess 25 grams in public, they cannot smoke it.

Everyone was taking a bong hit Saturday night, even Taran Killam , who during Weekend Update did a spot-on impression of bongo-playing nudist Matthew McConaughey.

What’s ironic? Despite all of the weed talk, the musical guest was Kendrick Lamar, a rarity among rappers in business in that he refrains from booze and ganja. A sketch addressing this quirk might have been interesting if they wanted to throw him in, but instead we got a bad sketch about a crackhead, a bad sketch about football head injuries, and another bad one about a campfire song.

However, probably the best sketch of the night was “Last Call,” with Woody and Kate McKinnon as Sheila Sovage. Given the title, I understand why they put this skit at the end, but it’s some of the best work on the series right now and deserves to be seen by more people. McKinnon often gets compared to Kristen Wiig, but her physical comedy is on another level.

What did you think of Woody Harrelson’s episode? Are you burned out on political cold opens like we are?

The Walking Dead: You Don’t Know Me

Tonight’s episode of The Walking Dead, “Consumed,” felt a little bit like a memory play. It largely focused on Carol, who I would argue is shaping up to be the true hero of the entire series, and her recent past since the split with Rick over her actions in the prison. It allows her to quickly reminisce on critical junctures of the last few weeks that continue to evolve her as a survivor.

The episode wasn’t exactly the showcase I wanted for the wonderful Melissa McBride as Carol – it was heavy on silence and mood and light on dialogue – but it did offer several great moments in the pairing of Carol Peletier and Daryl Dixon.

We start with Carol leaving Rick behind in the suburban neighborhood where he first told her she was no longer welcome in the group. Remember how horrified Rick was when Carol revealed she killed the virus-infected survivors and burned their bodies? Seems like Rick got over his indignation pretty quickly after that…

Carol drives away from the scene as only Carol would: stoic and steely-eyed and not looking back. A few miles down the road, she breaks down into tears, devastated by Rick’s shunning. There’s a quick, morbidly funny scene here when a walker starts banging on the car window, and Carol screams at it to go away before driving off leaving it ambling down the highway. Perhaps this speaks to a reluctance to resort to violence when dealing with the dead (or the living… or dying…) post split from the group. It’s something the show has dealt with for years now: is violence the only way or is there a kinder, gentler path?

Right now, we’re trending toward the violence, guided down that path by Rick Grimes, himself.

Flashing forward to the present, Daryl and Carol are in hot pursuit of a car with a white cross on its back window. It’s similar to the one that kidnapped Beth last season but what we know to be the Grady Memorial survivors. They manage to hold up in a few buildings in Atlanta and are themselves pursued/stalked by a mysterious figure in shadows. There’s one amusing scene halfway through the episode when they stumble upon a makeshift camp of former survivors, now zombies, trapped in sleeping bags and tents. Apparently, all you have to do to zombies is zip them up in something. Zombies can’t deal with zippers. Who knew?

Finally, their stalker is revealed to be Noah, the card-carrying member of the Lollipop Guild (he gave Beth lollipops) from Grady Memorial. He manages to strip them of their weapons and runs off with Daryl’s crossbow, which is becoming something of a theme lately. As much as that man loves his crossbow, he’s really bad at keeping it. Let’s not even get into his endless supply of arrows. I know he pulls them from his victims, but come on…

Daryl and Carol continue, looking for any further signs of vehicles with the telltale cross in the window. There are a few nice scenes interspersed through this section. First, the showrunners give us more of the burned-out shell that Atlanta has become, and what a haunting thing of beauty it really is. There is also much discussion about starting over, which Daryl is completely on board with but Carol, less so. She wants to confess the incidents of “The Grove,” but Daryl doesn’t really want to hear it.

Clearly, they’ve almost exchanged personalities. Significant loss on either side (Carol’s daughter, Sophia, and Daryl’s brother, Merle) has altered their original personas. Daryl was once tough and remorseless – the lone gunman of the group. Carol – the once timid, battered housewife – is now a grimly effective killing machine. She later refers to herself as having burned away the old versions of her persona. They dance around their new personalities and differences, and the conflict nearly boils up from under the surface.

There is also an amusing scene where they briefly critique a painting in an Atlanta office. Daryl says of the expressionistic work, “Looks like a dog sat in paint and wiped its ass all over the place.” Carol, with her newly independent streak, professes to like it and claims that Daryl doesn’t know her, truly. “You keep telling yourself that,” Daryl returns. The sparring back and forth between the two is some of the best work in the series, not just this episode but also the entire span of their constantly evolving relationship.

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Still in hot pursuit of the cross-bearing vehicles, they make their biggest blunder of the episode: climbing into the back of a broken-down van perilously perched on the edge of an overpass with two hoards of zombies fast approaching. Side note: while I loved the thrilling sequence that came after (they strap themselves into the van and tip it over the bridge to escape), I do not for one second believe that these characters, brilliant in their brutally efficient strategizing through much of the series, would have climbed into that obvious death trap. Still, it made for a cool getaway sequence. Particularly when the zombies started falling off the bridge onto the van.

Finally, they manage to find Noah and reclaim their weapons after pinning him beneath a bookcase with a zombie hovering nearby. After some tense debate, Daryl decides to spare his life, and only then do they realize he is from Grady and knows Beth. I half expected Noah to exclaim, “Yeah! She sucked my lollipop in a non euphemistic manner!”

They then spot a station wagon tagged with the hospital’s cross, and Carol, ever the soldier, probably deliberately runs in front of the vehicle to garner safe passage to the hospital. She had earlier inferred that they could not magically waltz into the heavily guarded hospital without a good story. Carol delivers on the goods, make no mistake about that. So, now we know how Carol ended up in Grady on a stretcher, and we can only surmise at this point that the figure standing behind Daryl in the woods was none other than Noah.

Nicely balancing character and plot development, “Consumed” isn’t the best episode of the series (that would be “The Grove” folks), but it’s a far better partner episode than last season’s Daryl/Beth outing (the one where she wanted to get drunk). These are deeply complicated and complex characters, and it’s the unsung truth of the series that, despite the massive amounts of zombie gore, The Walking Dead develops characters that continuously evolve and react to their intense surroundings better than most any other show on television.

And at the center stands Melissa McBride as Carol Peletier, delivering some of the most complex work I’ve seen on television when given the chance. She will never win an Emmy for this role, but, in my world, she’s won them all.