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“The Walking Dead” Penultimate Episode Review – “Family” Sets the Stage for High-Stakes Series Finale

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Lauren Cohan as Maggie Rhee - The Walking Dead - Season 11, Episode 23 - Photo Credit: Jace Downs/AMC

From the opening minutes of this past Sunday night’s penultimate episode you immediately know it’s going to be an impactful one. Judith Grimes once again narrates the intro sequence, this time over a montage of our survivors picking up their trusty weapons from a large chest in Alexandria. The period of peace in the Commonwealth is over, and once again the crew needs to arm up and fight…hopefully for one final time. Judith picks up one of Michonne’s swords and Rick’s infamous python. She places Carl’s sheriff hat on R.J. Grimes.

The swan song of “The Walking Dead” has begun. 

Surprisingly, the Outpost 22 variation of Alexandria is not the grand finale setting for the series. It seems as if the over-taking of the soldiers during last episode’s lineup resulted in the saving of Alexandria from Commonwealth command. Such a drastic win for the survivors should’ve certainly been given more screen time, as the sudden safety all throughout Alexandria in the beginning of this episode is extremely jarring. The survivors gather their weapons and board a train to head back to the Commonwealth and end things once and for all. 

Lydia and Aaron’s crew from the previous episode make a daring trek through the wilderness using the walker guts blanket method along with “Whisperer” style communication. It’s quite cool to see the former enemy’s tactics being reused for the benefit of the survivors, showcasing a sense of continued evolution throughout the world of the show. The camouflaged travel sequence reaches a cataclysmic peak when the crew tries to slowly stagger to the safety of a nearby RV (calling back flashbacks to the horrifying RV sequence in Season 2). 

Cassady McClincy as Lydia – The Walking Dead _ Season 11, Episode 23 – Photo Credit: Jace Downs/AMC

With the horde of walkers showing no care for the survivor’s plan, some members are carried away, forced to pretend to be a walker and continue past the RV. Lydia’s love interest Elijah (Okea Eme-Akwari) is shoved past the RV and she immediately reaches out to grab his hand as walkers stumble past her. In a shocking late-in-the-season twist, Lydia is bitten in the arm by a walker and ushered inside by Aaron and Jerry. Cassady McClincy gives a tremendous performance as Lydia conveying the pain in her heart and physical pain of her dreadful circumstances. It’s been quite some time since we’ve had a main character get bit on the show, and I’m glad the series was able to squeeze in another before its ending. Aaron, familiar with the upcoming grisly process, calms Lydia down and prepares her for the inevitable amputation of her now-infected arm. “You are so loved,” he says. 

During the train-car ride back to the Commonwealth, Ezekiel and Negan debrief the chaotic events that transpired during the Alexandria lineup in the previous episode (where Negan willingly risked his life for the survival of the group). For the first time, Ezekiel seems to show a small amount of respect to the former antagonist. The interaction and development between Ezekiel and Negan has been one of the most refreshing, and rewarding, surprises during these final eight episodes. During their conversation, there’s a touching call-back to Ezekiel’s “And yet I smile” mantra that was a key theme throughout the show’s eighth season. 

Daryl, Carol, and Judith have a heart to heart on the train as well, talking about Michonne and Carl’s legacy. “You two are a lot alike,” Carol tells Judith in regards to her late older brother. “He died saving people,” Judith responds in what is hopefully not eerie foreshadowing. Judith expresses sadness over not having enough time to memorialize these people and truly appreciate all that they did in the face of adversary. Daryl responds, “…when this is over I’m gonna tell you every story I remember about all the people that loved you.” This conversation is absolutely heartwarming, and truly emphasizes the core theme of family and legacy that has weaved its way throughout the entire series. 

Cailey Fleming as Judith, Anthony Azor as RJ – The Walking Dead _ Season 11, Episode 23 – Photo Credit: Jace Downs/AMC

Desperate to disrupt the attempts at rebellion, Pamela orders her soldiers to maneuver a horde of walkers towards the Commonwealth in an effort to distract citizens and overwhelm the infiltrators. As the massive horde approaches the safe haven, we’re treated to wide shots showcasing the scale of the Commonwealth alongside large overhead sequences of shambling walkers. While this chaos unfolds, the original survivors sneak into the Commonwealth for their final mission. This sense of visual scale really reinforces the high-stakes and finality of this penultimate episode. 

Eugene has a moment to shine amidst the chaos when a Commonwealth soldier demands entry into the room he is hiding out in. As the soldier enters, Eugene stealthily ambushes him in a violent attack. In this moment Eugene shines as not only an intelligent player in the fight against the Commonwealth, but finally as a physical one. 

In an attempt to save Maggie (who some fans have pointed out actually delivered baby Judith in Season 3) from Pamela’s gunfire, Judith Grimes is shockingly shot and immediately collapses much to the horror of all of the survivors. Watching the look of utter despair and horror on the leading cast is harrowing, and Pamela’s devastating delivery of “You did this!” makes the scene one of the show’s grimmest. The future of the Grimes legacy is at stake, and Daryl immediately grabs Judith to take her to safety while the crew fires on all fronts. 

Ross Marquand as Aaron – The Walking Dead _ Season 11, Episode 23 – Photo Credit: Jace Downs/AMC

What follows is one of the most intense sequences of the entire season, as the survivors desperately run through the Commonwealth trying to get Judith to safety. Soldiers turn corners, slowly boxing in the survivors with barricades. Just when things can’t seem to get any worse, it is revealed that the Commonwealth is luring the horde of walkers – including the infamous Variant Walkers – to surround the leading survivors. Negan drops one of the show’s most incredible f-bombs ever as he witnesses a Variant walker crawling over debris. Suddenly, walkers are once again a dangerous threat to the survivors. The scene is masterfully choreographed and oozing with intensity and action. 

The majority of the leading cast is all together, united against the Commonwealth and the evolved walker threat. They form a wall of defense against the enemies, allowing Daryl to run with Judith to safety, paralleling visuals of Rick running with Carl after he was shot in Season 2.The crew has united to protect the Grimes legacy. Judith dips in and out of consciousness, seeing her friends and family desperately fighting against the undead.  She utters the word “Daddy” in her delusion, confusedly attributing her savior as her father. Perhaps hinting at the hopeful return of Andrew Lincoln in the grand series finale? Time will only tell. 

As a penultimate episode, ‘Family” fires on all fronts with action-packed narrative developments and a grisly set-up for the show’s ultimate conclusion. 

“I want to be a part of that. To make what my family believed in real.” – Judith Grimes. 

Reviews

“AHS: Delicate” Review – “Little Gold Man” Mixes Oscar Fever & Baby Fever into the Perfect Product

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American Horror Story Season 12 Episode 8 Mia Farrow

‘AHS: Delicate’ enters early labor with a fun, frenzied episode that finds the perfect tone and goes for broke as its water breaks.

“I’ll figure it out. Women always do.”

American Horror Story is no stranger to remixing real-life history with ludicrous, heightened Murphy-isms, whether it’s AHS: 1984’s incorporation of Richard Ramirez, AHS: Cult’s use of Valerie Solanas, or AHS: Coven’s prominent role for the Axeman of New Orleans. Accordingly, it’s very much par for the course for AHS: Delicate to riff on other pop culture touchstones and infinitely warp them to its wicked whims. That being said, it takes real guts to do a postmodern feminist version of Rosemary’s Baby and then actually put Mia Farrow – while she’s filming Rosemary’s Baby, no less – into the narrative. This is the type of gonzo bullshit that I want out of American Horror Story! Sharon Tate even shows up for a minute because why the hell not? Make no mistake, this is completely absurd, but the right kind of campy absurdity that’s consistently been in American Horror Story’s wheelhouse since its inception. It’s a wild introduction that sets up an Oscar-centric AHS: Delicate episode for success. “Little Gold Man” is a chaotic episode that’s worth its weight in gold and starts to bring this contentious season home. 

It’d be one thing if “Little Gold Man” just featured a brief detour to 1967 so that this season of pregnancy horror could cross off Rosemary’s Baby from its checklist. AHS: Delicate gets more ambitious with its revisionist history and goes so far as to say that Mia Farrow and Anna Victoria Alcott are similarly plagued. “Little Gold Man” intentionally gives Frank Sinatra dialogue that’s basically verbatim from Dex Harding Sr., which indicates that this demonic curse has been ruffling Hollywood’s feathers for the better part of a century. Anna Victoria Alcott’s Oscar-nominated feature film, The Auteur, is evidently no different than Rosemary’s Baby. It’s merely Satanic forces’ latest attempt to cultivate the “perfect product.” “Little Gold Man” even implies that the only reason that Mia Farrow didn’t go on to make waves at the 1969 Academy Awards and ends up with her twisted lot in life is because she couldn’t properly commit to Siobhan’s scheme, unlike Anna.

This is easily one of American Horror Story’s more ridiculous cold opens, but there’s a lot of love for the horror genre and Hollywood that pumps through its veins. If Hollywood needs to be a part of AHS: Delicate’s story then this is actually the perfect connective tissue. On that note, Claire DeJean plays Sharon Tate in “Little Gold Man” and does fine work with the brief scene. However, it would have been a nice, subtle nod of continuity if AHS: Delicate brought back Rachel Roberts who previously portrayed Tate in AHS: Cult. “Little Gold Man” still makes its point and to echo a famous line from Jennifer Lynch’s father’s television masterpiece: “It is happening again.”

“Little Gold Man” is rich in sequences where Anna just rides the waves of success and enjoys her blossoming fame. She feels empowered and begins to finally take control of her life, rather than let it push her around and get under her skin like a gestating fetus. Anna’s success coincides with a colossal exposition dump from Tavi Gevinson’s Cora, a character who’s been absent for so long that we were all seemingly meant to forget that she was ever someone who was supposed to be significant. Cora has apparently been the one pulling many of Anna’s strings all along as she goes Single White Female, rather than Anna having a case of Repulsion. It’s an explanation that oddly works and feeds into the episode’s more general message of dreams becoming nightmares. Cora continuing to stay aligned with Dr. Hill because she has student loans is also somehow, tragically the perfect explanation for her abhorrent behavior. It’s not the most outlandish series of events in an episode that also briefly gives Anna alligator legs and makes Emma Roberts and Kim Kardashian kiss.

American Horror Story Season 12 Episode 8 Cora In Cloak

“Little Gold Man” often feels like it hits the fast-forward button as it delivers more answers, much in the same vein as last week’s “Ava Hestia.” These episodes are two sides of the same coin and it’s surely no coincidence that they’re both directed by Jennifer Lynch. This season has benefitted from being entirely written by Halley Feiffer – a first for the series – but it’s unfortunate that Lynch couldn’t direct every episode of AHS: Delicate instead of just four out of nine entries. That’s not to say that a version of this season that was unilaterally directed by Lynch would have been without its issues. However, it’s likely that there’d be a better sense of synergy across the season with fewer redundancies. She’s responsible for the best episodes of AHS: Delicate and it’s a disappointment that she won’t be the one who closes the season out in next week’s finale.

To this point, “Little Gold Man” utilizes immaculate pacing that helps this episode breeze by. Anna’s Oscar nomination and the awards ceremony are in the same episode, whereas it feels like “Part 1” of the season would have spaced these events out over four or five episodes. This frenzied tempo works in “Little Gold Man’s” favor as AHS: Delicate speed-runs to its finish instead of getting lost in laborious plotting and unnecessary storytelling. This is how the entire season should have been. Although it’s also worth pointing out that this is by far the shortest episode of American Horror Story to date at only 34 minutes. It’s a shame that the season’s strongest entries have also been the ones with the least amount of content. There could have been a whole other act to “Little Gold Man,” or at the least, a substantially longer cold open that got more out of its Mia Farrow mayhem. 

“Little Gold Man” is an American Horror Story episode that does everything right, but is still forced to contend with three-quarters of a subpar season. “Part 2” of AHS: Delicate actually helps the season’s first five episodes shine brighter in retrospect and this will definitely be a season that benefits from one long binge that doesn’t have a six-month break in the middle. Unfortunately, anyone who’s already watched it once will likely not feel compelled to experience these labor pains a second time over. With one episode to go and Anna’s potential demon offspring ready to greet the world, AHS: Delicate is poised to deliver one hell of a finale.

Although, to paraphrase Frank Sinatra, “How do you expect to be a good conclusion if this is what you’re chasing?” 

4 out of 5 skulls

American Horror Story Season 12 Episode 9 Anna Siobhan Kiss

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