Reviews
[TV Review] “Salem” Episode 3.01: ‘After the Fall’
Welcome back, Heathens! It’s been far too long since our last chat (17 months to be exact. That’s almost two pregnancies!). WGN’s Salem finally returns to us so that we may bask in its glory. The season premiere found the show playing catch-up with all of the characters, and while it seems hit all the right beats, it did seem to be going through the motions a bit. Still, it was a devilishly entertaining as ever, with plenty of new plot developments to carry us through the season.
The lack of Janet Montgomery hindered “After the Fall” quite a bit. Salem just isn’t the same without her. While she was largely absent throughout the episode, her Mary Sibley’s presence loomed over all of the plotlines of the episode. This is most true for Tituba, who spends the majority of the episode trying to resurrect her (and succeeding by the episode’s end). It turns out that Tituba is the new seer (called it), thank to her eating Petras’s eyes last season. She is now capable of seeing the future, and while it would have behooved the show to focus more on Tituba’s new talents, it makes sense that it would want to shine a spotlight on Mary’s resurrection before delving into Tituba’s powers.
Mary’s death leaves John Alden a broken, albeit stronger, man. With her dead, he has nothing left to live for so he just doesn’t give a fuck. This is a wise reinvention of Alden’s character, who was a big bag of dead weight last season. The grudge he held against Mary never rang true and made the character less likable since, like Anne pointed out, it is his fault she became a witch in the first place. His rivalry with Sebastian will no doubt carry on throughout the season, but his partnership with Isaac (née the Fornicator) is what intrigues the most. Once thought to be a dispensable character in the pilot, Isaac has emerged as the heart and soul of Salem.
Mercy makes a brief appearance this week, and she is busy running a halfway house for ex-residents of Knocker’s Hole (the red light district of Salem) and playing violent games of Cat’s Cradle with them while also drinking their blood. Her storyline is the most disconnected of the episode, as the most interaction she gets with any of the main characters is her spying on John and Isaac through a window. This disconnect was a problem with Mercy last season, so hopefully the series brings her in the the main arc more this year.
Anne has evolved quite a bit since the series began. Now that she is fully embracing her powers, it opens up a whole world of potential storylines for her this season. Her imprisonment of Cotton is shocking, but it’s debatable how long this game of Misery can last before it starts to wear thin. For now, it’s at least tragically humorous to watch. The rules behind the magic aren’t consistent though. Why is Cotton able to get a slap in at Anne? George Sibley was never able to accomplish such a feat. It may be that Anne is allowing him to without her realizing it (because of twue wuv), but it was a bit jarring at first.
Finally, we come to the Dark Lord. Lucy Lawless was such a commanding presence last year as the Countess von Marburg, that the Dark Lord pales in comparison to her. Oliver Bell simply doesn’t have the same screen presence as that actress. It’s not that he’s a bad actor. Quite the contrary, he has actually improved since last season. It’s just that as a character he’s kind of obnoxious. It’s too early in the season to really make a judgment on the character, but this episode didn’t make him enough of a menacing presence (Mercy was more menacing).
“After the Fall” was a solid premiere for Salem. While it suffered from a lack of Janet Montgomery (and if we’re being honest, Lucy Lawless), it served as a good catch-up episode that didn’t drag once. Season 3 hasn’t lost and of the fun that filled the second season, and I wouldn’t have it any other way.
Random Notes
- Grossest Moment: Since Salem prides itself on its gore (and why shouldn’t it?) I thought this would be a fun weekly tradition to have in the Random Notes. This week’s grossest moment is definitely Mercy’s game of Cat’s Cradle. That almost harder to watch than the rack scene from Saw III.
- Runner up: The Dark Lord’s brother, who seems to be made of cockroaches. Blech.
- Something I am legitimately worried about is where Salem will go after the Dark Lord is defeated (if he is defeated). What kind of Big Bad do you follow the Devil himself with?
- Sebastian visiting his mother’s corpse gives me a glimmer of hope that Lucy Lawless will return this season, if only for an episode like Stephen Lang did last season.
- John straight up just watched that lady get her throat slashed. He didn’t even try to help her. Good work John.
- “His every breath is an intolerable risk to us, not to mention smelling awfully of rat.”
- Isaac starting the mob mentality to let John Alden go was a brilliant move on his part. Go Isaac!
- “That overreaching thing. All her promises lie even now rotting in her sarcophagus. Would you like to join her?”
- “How dare you bring that traitor into our midst. There is no place in the Essex stronghold for even the corpse of Mary Sibley.” -Those Essex witches sure can hold a grudge, can’t they?
- “Did I choose to slaughter innocents? Choose to start a plague? Raise the devil himself? No. Mary Sibley chose to do those things. Me? I had no choice. Didn’t even realize I was born a witch, but Mary Sibley chose to become a witch. Why? Because you chose to leave Salem and left her no other course. So perhaps this is all your fault!” -Anne is so much more entertaining when she’s pissed off.
- Another example: “If you move or speak against me, Brown Jenkins feasts on your insides.” -Poor
Brown JenkinsCotton - “English? Better call it ‘anguish.’ Sounds like the whimper of whipped dogs.” -Seriously, I have missed the zingers on this show. Keep ’em coming!
Reviews
“The Walking Dead: The Ones Who Live” Episode 4 Review – Danai Gurira Writes an Exceptional Hour of TV
“What We,” written by Michonne herself, Danai Gurira, is the fourth episode in AMC’s “The Walking Dead: The Ones Who Live.” Serving as an emotional climax for Michonne and Rick’s journey, the episode unravels much like a play (which makes sense given Gurira’s background as a playwright). Confined to an abandoned apartment building in the wake of Michonne pulling Rick out of a helicopter, the long-lost lovers finally have some alone time to talk things over.
What follows is a beautifully written, dialogue-heavy episode that is heightened by dynamic blocking and set design. Much of the episode finds Rick and Michonne arguing over their next steps, pacing and moving around the small apartment they’ve found themselves in. Despite an exit-plan at their fingertips, Rick seems hesitant to travel with Michonne back to Alexandria. Michonne, rightly frustrated, argues with Rick, spiraling the conversation into circles. Grimes is allegiant to the Civic Republic Military and truly believes he can do some good for not only his community, but for the world.
As the episode progresses, Michonne’s frustration with Rick rings just as true for her as it does for the viewers. Despite Michonne’s constant pleas for the man she once knew to return to his children, Rick keeps circling back to his supposed need to remain at the CRM. It’s clear, even more so this episode, that Rick is a shell of who he used to be. Beaten down by years of failed escapes and separation from his family, “The Brave Man,” as RJ Grimes calls his absent father, is not so brave anymore. In a post online, a fan pointed out that the Rick Grimes we once knew essentially did die on that fateful bridge back in season 9. And they’re not wrong.
While Rick and Michonne’s physical reunion was granted to viewers almost immediately in this series, the emotional reunion between the two iconic characters was only truly achieved in this episode. Preventing Rick Grimes from returning to his former glory with a simple snap has proved to result in a much more dynamic, intriguing, and believable narrative for the long-absent character. Michonne finding Rick was only one step of the battle, with Rick finding himself being the toughest hill to climb. Andrew Lincoln once again showcases a masterclass of acting as Grimes cycles through his damaged psyche, desperately trying to figure out how to connect with Michonne. Gurira matches Lincoln’s emotional performance, evoking Michonne’s desperation and anger with authenticity. Letting Gurira take over writing duties for this specific episode proved extremely beneficial given the emotional legwork the character trudges through in this particular installment. If there’s anyone who can understand Michonne the best, it’s Danai Gurira.
Despite the stellar writing and episode flow, “What We” is not free from a few so-so moments. A chandelier conveniently lands on Michonne, forcing Rick to stay back to rescue her as a shambling horde comes his way. It’s understandable why this sequence occurred, but with so many other ways to place Michonne in peril, the convenient crashing of a chandelier onto her leg comes across on the goofier side. It’s the type of fake-out dangerous moment the flagship series would too often pull on characters we surely knew would not meet their demise. Earlier in the episode, Rick and Michonne’s descent from the helicopter is shown. The visual isn’t super convincing, and the sequencing of shots that follow feels disjointed – clearly meant to hide a restrictive budget. It’s a rare moment of low-quality that sticks out amongst an otherwise polished, elevated looking show.
On the other hand, “What We” is full of incredible stand out moments. As Michonne changes out of her wet clothes, Rick notices her “X” scar for the first time, a mark fans of the flagship series will remember. Michonne and Daryl’s fateful encounter with a community of murderous children proved to be one of Season 10’s darkest episodes. A somber dialogue occurs later in the episode, offering longtime fans another moment of Michonne filling in Rick about one of the many impactful moments he missed during his absence. The real revelation comes when Michonne mentions Rick’s “Children” and a look of subtle shock washes over Grimes’ face. Michonne breaks the news about RJ, their child that Rick never got the chance to meet.
Even after the revelation, Grimes still refuses to just leave with Michonne, forcing her to try even harder to break his spell of delusion. The constant back-and-forth between these apocalyptic lovers plays out against the framing of a beautiful rectangular window. As the episode progresses, the apartment building itself begins to collapse into rubble, a consistent visual motif for a relationship that is on the rocks.
After an elongated sequence of several walker kills, close calls, couple bickering, and some hilarious jabs (Michonne mocking Rick by calling him “Commando”), the duo finally return back to the apartment room and connect on a physical level. The scene is shot like a fantasy, backlit by a warm circular light and serenaded by Sam Ewing’s beautiful original score. Intimate framing showcases the emotional reaction of the characters, emphasizing the importance of this long-awaited moment and the rekindling of their love. “You’re still lying to me, you’re lying to yourself,” Michonne says in the aftermath of their romantic moment. The walls are down, and Michonne is ready to pry the old Rick Grimes out of his decaying shell.
With the building at the brink of collapse, Michonne orders Rick to stay back until they decide exactly what they are doing next. “They’ve taken so much from us, why give them anymore!” Michonne pleads to Grimes. And finally, Rick Grimes spills his guts as Andrew Lincoln puts on an intensely raw performance crying through the following poignant monologue:
“Tell me what is really going on here? What did they take from you?” Michonne asks.
“Carl…They took Carl. I lost him again,” Rick reveals with a tenderness in his voice.
“I’d meet up with Carl in my dreams. And that’s how I survived up here. Kept me alive. And then one day he was just gone. He just left. But then I started dreaming of you. And there you were. You and I fell in love in different ways. And it kept me going. And then you were gone too. I couldn’t see your face anymore just like I couldn’t see Carl’s. I can’t live without you. Without you, I die. And I figured out how to do that. I know how to be dead and live now. You can’t just come back here, make me come alive again if I don’t know if I won’t lose you again. What if I lose you and I can’t figure out how to die all over again? I need to get ahead of it Michonne.”
As Ewing’s somber music swells, nostalgic shots of Rick walking along the fields with Carl play out and the core heart that kept Rick fighting for all of these years becomes emotionally apparent yet again.
In a full circle moment, Michonne hands Rick a broken phone with artwork of Carl on it, a visual reminder of a face Rick longed to remember and a great payoff to Michonne stumbling upon the phone artist in the CRM city. Much like how a broken phone with artwork on it brought Michonne back to Rick, the same has brought Rick back to Michonne. Rick’s monologue also elegantly ties in the entire show’s motif of “The Walking Dead,” as Grimes cries to Michonne about how he has learned to “be dead and live.” The entire sequence is one of the show’s (and possibly the series’) best, featuring Emmy-worthy performances from both Gurira and Lincoln.
The killing of Carl back in Season 8 still remains one of the boldest and somewhat baffling decisions the core show made, but much like how the series turned Carl’s loss into a motivator for Rick to restore a brand new world, the power of Carl’s memory is able to ground Rick back to his emotional center. For a flagship series that can sometimes all too quickly move along after the tragic deaths of its main characters, the overall writing arc for the loss of Carl has proved to be beautifully crafted.
United yet again, Michonne and Rick make a mad dash out of the collapsing building, disposing of walkers and making out along the way. The production design of the decaying hallways call to mind the corridors of the hospital Grimes first woke up in, perhaps a slight nod to this moment being yet another “rebirth” for the character. As the duo drive away from the collapsing building in a nearby truck, it’s evident that the apocalypse’s power couple is finally back, and together no one can stop them.
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