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Even if The dead who walk Sunday's television announced that the star of the series, Andrew Lincoln, would hang up his cowboy hat and that his Colt Python would be near the middle of the nine season shock. Rick Grimes is the axis on which this end of the world turns, our anchor in the apocalypse, the intrepid (and often ignorant) leader of our raging family of survivors. For many fans, the thought of The dead who walk without Rick Grimes is related to Star wars without Luke Skywalker or Princess Leia, or Parks and Recreation without Leslie Knope. But the end of Rick Grimes could be the upheaval of life that awakens the spectacle of his long stretch of sluggish sleepwalking. Losing Rick – and his style of leadership, which wavers wildly between pioneering authoritarianism (aka "The Ricktatorship") and declared ineptitude – can not do The dead who walk Awesome again, but it can potentially make it really compelling for the first time in years.
Much has been said about the mediocre notes of the series, which are generally attributed to its flawless gloom – a moroseness that reaches its most staggering and blood-saturated point with the premiere of season seven, where two fan favorites, Glenn and Abraham, have achieved their gruesome ends. through a baseball bat made of barbed wire. But this sadness is not without context: the series had to become darker, harder and more mean to justify the excesses of its protagonist. The murders of Glenn and Abraham (undoubtedly the great nadir of the series) were the revenge of the Saviors, for our merry band of survivors, under Rick's command, had slaughtered an outpost of Saviors (who slept in their homes). bed, not less). The series is so invested in Rick's defense of fundamental justice – even when it would be more intriguing to let him make a narrative and thematic mistake – that his villains are forced to switch to the excessive Snidely Whiplash mode.
The governor proved to be such a compelling nemesis, because the writers left him the possibility that he might be right (at least occasionally) in his approach to the preservation of civilization, in particular the necessary means. given that Rick's leadership was still just quantum optimism. (Remember in season two, when he wanted to let a guy who confessed to being a rapist and a murderer, for example, leaves the Hershel farm with the strong hope that the rapist / killer would not join his rapist group and killers and come back to the farm with a sparkle in his eyes and blood in his mind? good times.) As Rick embraced more and more a dark and bombastic machismo (and the show blunted all its complexity), the forces that opposed him had to get sicker, and more vicious, to make him look like a good guy by comparison. Jeffrey Dean Morgan is a naturally charismatic actor (his turn in guardians makes a proto-Negan character immensely observable, even full of pathos), and yet, aside from his introduction, he was wasted on Rick. If it was too convincing, too nuanced, it could easily overshadow our hero – as the governor may have done or other characters, including Daryl, Carol, Michonne and Maggie, were successful to do it.
These characters became infinitely more interesting because their emotions and reactions, their hopes and fears were not entirely motivated from the outside. One of the most moving arcs in the series, for example, has been slowly, sometimes with great difficulty, from Daryl. get rid of the straitjacket of racism and xenophobia that he learned from his brother and by becoming a member of a community. Then the show smothered Daryl in Rick's right-arm role, Rick's right-hand man: The character has not done much, but has gone down brilliantly at least in the last two seasons.
Ironically, although Rick is the main manager of the series, Gary Cooper, who adorned the posters, sold toys and inspired Halloween costumes, it remains a number. He is galvanized by emotions that are too great and majestic and by purely external factors, such as finding and protecting his family. in mourning when members of his family are killed; decide that only extreme violence can thwart the next evil outsider; and then, deciding that, naw, violence is not the solution, we are trying to construct something, something bigger than ourselves, but nothing is delicate, complex or even staff in his motives. He could be any other hero of action. Even his desire to keep Negan alive and forge a precarious truce with the surviving Saviors stems from his son's vision for a better world, nothing endemic or an indicator of his own ideals.
That's the problem: after nearly 10 years, we still do not know who Rick Grimes really is or what he really believes. One could only imagine that a man who would have spent most of his adult pre-apocalypse life working as a sheriff would have personal notions about right and wrong, or at least about what a balanced society and legal would look like. It is strange that a supposed "good cop" of the time once was comfortable with Negan and only plays with a judge and a jury, not allowing township residents who fought and bled and lost their beloved loved ones to say what should reasonably happen to the Saviors after the war.
Only Michonne sits down to write a real charter (and even after being disturbed by the border justice of Maggie for Gregory). It's a small moment of character, just a woman sitting with a pen and a notebook, but it's revealing of her values and her beliefs, and it reminds us of who she was before the walkers took the world. I can not think of a similar scene for Rick: his fixation on the bridge is more like a conspiracy ploy, a way to counter it, and to create conflict with characters like Maggie and Daryl, whose reactions and motivations feel much more plausible and inhabited.
This season represents a significant improvement over the total war as it is already preparing a version of The dead who walk without Rick Grimes, a show that can no longer count on the cheap gadget of the noble cowboy redeeming the day against a bad enemy. This season's move to Maggie and Daryl as quasi-antagonists who are arguably more in the right than Rick-Rick's decision to unilaterally spare Negan, and ask traumatized people, he and the rescuers , to simply accept it, is frankly as cruel as possible. misled – gave him real tension, momentum and stakes. More importantly, it gives the show a real complexity.
When the tone and the tenor are not entirely related to Rick's emotions (which were mainly epic, the pain of an all-metal man), the series blossoms like a play. "The Obliged" offered Michonne a secondary plot, contrasting with her desire for peace and her maternal willingness to found a family with the thirst for blood born of rabies that she can not shake. Maggie strives to balance her emotions as she learns to govern and become a parent. Carol, who was turned into a survivor by her murderous husband long before the dead returned from the earth, begins to trust and show tenderness with new love. The show has already proven that he does not need Rick to say powerful and incisive things about chaos and humanity, violence and redemption, pain and courage.
AMC is entering its ninth season as Rick's swan song – and even if it is, it's also a smooth restart, and better. That's not to say that fans should not cry Rick's loss or that Andrew Lincoln did not make the most of what he received; only that its absence (as long as it could be) could extend The dead who walkThe dark and sinister horizon.
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