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***OFFICIAL 'The Walking Dead' TV Series Thread*** (4 Viewers)

I don't think Morgan is a fringe character now. I think he's become very important to the current story and I do think his back story was something that was necessary.

 
VA703 said:
well Morgan isn't going anywhere anytime soon. you don't dedicate 90 minutes to a short lived character. don't think we have seen any backstory for carol other than an abusive husband and she lost a daughter
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pretty sure morgan will be dead soon

 
Frostillicus said:
I'm a fan of the show and watch every week and look forward to watching it, but there is some really bad writing at times, and that's ok. I don't mean the gas thing because who cares and they're treating gas an an unlimited resource in this world they've created and that's fine. I don't even mind some of the seemingly mind-numbing bad decisions because first, it's just a story and sometimes they need to create a specific scenario even if it's a ham handed setup, and second, I'm pretty sure if this was real life people would be making bad decisions all over the place.

But the way that dude died was just horrible. It's completely unbelievable. It's hard to believe that when that was written every one was like yeah ok, and even harder to believe when they watched back the execution of that scene they were like yep nailed it. Does anyone actually think that was well written or well shot?

It's ok to criticize it and still enjoy the show.
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:goodposting:

 
tommyboy said:
VA703 said:
well Morgan isn't going anywhere anytime soon. you don't dedicate 90 minutes to a short lived character. don't think we have seen any backstory for carol other than an abusive husband and she lost a daughter
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pretty sure morgan will be dead soon
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I disagree. I think his inner battle is going to be a big plot point for the remainder of the season and he is an asset in the war against The Wolves. The question is...can he find balance in the force? It's an interesting inner struggle.

As to being OK to critique a show....of course. No show is perfect. But trolling a thread get's freaking old. Just go away. You hate the show yet you watch it. Brilliant. Now go away. Clutters the thread (thank god for the ignore function).

 
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BustedKnuckles said:
Psychopav said:
Statorama said:
Loan Sharks said:
Marvin said:
To Sherwood Schwartz et al. Notes: Robert Reed There is a fundamental difference in theatre between: 1.Melodrama 2.Drama 3.Comedy 4.Farce 5.Slapstick 6.Satire & 7.Fantasy They require not only a difference in terms of construction, but also in presentation and, most explicitly, styles of acting. Their dramatis peronsae are noninterchangable. For example, Hamlet, archtypical of the dramatic character, could not be written into Midsummer Night's Dream and still retain his identity. Ophelia could not play a scene with Titania; Richard II could not be found in Twelfth Night. In other words, a character indigenous to one style of the theatre cannot function in any of the other styles. Obviously, the precept holds true for any period. Andy Hardy could not suddenly appear in Citizen Kane, or even closer in style, Andy Hardy could not appear in a Laurel and Hardy film. Andy Hardy is a "comedic" character, Laurel and Hardy are of the purest slapstick. The boundaries are rigid, and within the confines of one theatric piece the style must remain constant. Why? It is a long since proven theorem in the theatre that an audience will adjust its suspension of belief to the degree that the opening of the presentation leads them. When a curtain rises on two French maids in a farce set discussing the peccadilloes of their master, the audience is now set for an evening of theatre in a certain style, and are prepared to accept having excluded certain levels of reality. And that is the price difference in the styles of theatre, both for the actor and the writer--the degree of reality inherent. Pure drama and comedy are closest to core realism, slapstick and fantasy the farthest removed. It is also part of that theorem that one cannot change styles midstream. How often do we read damning critical reviews of, let's say, a drama in which a character has "hammed" or in stricter terms become melodramatic. How often have we criticized the "mumble and scratch" approach to Shakespearean melodrama, because ultra-realism is out of place when another style is required. And yet, any of these attacks could draw plaudits when played in the appropriate genre. Television falls under exactly the same principle. What the networks in their oversimplification call "sitcoms" actually are quite diverse styles except where bastardized by careless writing or performing. For instance: M*A*S*H....comedy The Paul Lynde Show....Farce Beverly Hillbillies.....Slapstick Batman......Satire I dream of Jeannie....Fantasy And the same rules hold just as true. Imagine a scene in M*A*S*H in which Arthur Hill appears playing his "Owen Marshall" role, or Archie Bunker suddenly landing on "Gilligan's Island" , or Dom Deluise and his mother in " Mannix." Of course, any of these actors could play in any of the series in different roles predicated on the appropriate style of acting. But the maxim implicit in all this is: when the first-act curtain rises on a comedy, the second act curtain has to rise on the same thing, with the actors playing in commensurate styles. If it isn't already clear, not only does the audience accept a certain level of belief, but so must the actor in order to function at all. His consciousness opens like an iris to allow the proper amount of reality into his acting subtext. And all of the actors in the same piece must deal with the same level, or the audience will not know to whom to adjust and will often empathize with the character with the most credibility--total reality eliciting the most complete empathic response. Example: We are in the operating room in M*A*S*H, with the usual pan shot across a myriad of operating tables filled with surgical teams at work. The leads are sweating away at their work, and at the same time engaged in banter with the head nurse. Suddenly, the doors fly open and Batman appears! Now the scene cannot go on. The M*A*S*H characters, dealing with their own level of quasi-comic reality, having subtext pertinent to the scene, cannot accept as real in their own terms this other character. Oh yes, they could make fast adjustments. He is a deranged member of some battle-fatigued platoon and somehow came upon a Batman suit. But the Batman character cannot then play his intended character true to his own series. Even if it were possible to mix both styles, it would have to be dealt with by the characters, not just abruptly accepted. Meanwhile, the audience will stick with that level of reality to which they have been introduced, and unless the added character quickly adjusts, will reject him. The most generic problem to date in The Brady Bunch has been this almost constant scripted inner transposition of styles. 1. A pie-throwing sequence tacked unceremoniously onto the end of a weak script. 2. The youngest daughter in a matter of a few unexplained hours managing to look and dance like Shirley Temple. 3. The middle boy happening to run into a look-alike in the halls of his school, with so exact a resemblance he fools his parents [Rowe: what thats never happened to you?]. And the list goes on. Once again, we are infused with the slapstick. The oldest boys hair turns bright orange in a twinkling of the writers eye, having been doused with a non-FDA-approved hair tonic. (Why any boy of Bobbys age, or any age, would be investing in something as outmoded and unidentifiable as hair tonic remains to be explained. As any kid on the show could tell the writer, the old hair-tonic routine is right out of Our Gang. Lets face it, were long since past the little dabll do ya era.) Without belaboring the inequities of the script, which are varied and numerous, the major point to all this is: Once an actor has geared himself to play a given style with its prescribed level of belief, he cannot react to or accept within the same confines of the piece, a different style. When the kids hair turns red, it is Batman in the operating room. I cant play it.
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Exactly. Of course Sherwood Schwartz (or maybe it was his son Lloyd) said "Robert Reed is the kind of actor that if he got bad reviews playing Hamlet would say 'hey, I didn't write this s**t!'"
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Hard to believe that dude was gay
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Sherwood Schwartz was GAY? :shocked:
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so he was cured ?
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Yes, BabyD style. We'll all be cured, of everything, some day.

 
Zow said:
El Floppo said:
Zow said:
(HULK) said:
Zow said:
Just watched the new Morgan episode. Best

episode of the series. Eastman ruled.
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Fellas, I'll handle this...Look at the flowers Woz, look at the flowers.
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Flowers? Don't you mean plants? Because I'd sure like to get back to riveting scenes of Rick gardening at a prison.
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no woz... look at the flowers.
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I get the reference.
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I don't think you did. Look at the flowers, Woz

 
packersfan said:
I don't think Morgan is a fringe character now. I think he's become very important to the current story and I do think his back story was something that was necessary.
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:goodposting:

Morgan is the Boba Fett of TWD. People who complain about a 90 minute backstory episode will be the same ones who complain about a Boba Fett feature film. The only difference is we didn't have to wait 35 years for this one.

 
My hope is Rick returns and starts talking to Carol and Morgan about what happened in the RV, pulls out the gun and the baby food..

Morgan sees that that is the gun he let the wolf walk away with, realizes not all lives are precious, strangles the wolf in the cage and we get the :loco: Morgan back.

:popcorn:

 
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(HULK) said:
FYI, the All Out War arc from the comics should be coming soon. I'm expecting it to start sometime in the back half of this season.

It is, hands down, the best part of the comic.
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Brace yourself for a watered-down Negan

 
Statorama said:
(HULK) said:
FYI, the All Out War arc from the comics should be coming soon. I'm expecting it to start sometime in the back half of this season.

It is, hands down, the best part of the comic.
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Brace yourself for a watered-down Negan
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Honestly, I'm hoping they just bleep his dialogue constantly. Rather than saying "flip" or "sheez" or whatever.

 
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Copeman said:
People tend to forget that this isn't a show "based" on zombies. It is a show based on human interaction during an apocalypse. To know this and then complain that there is too much character stuff and not enough "action" is pretty dumb.
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It's almost like the living are the walking dead.
 
Finally got to watch all of the last episode.

Probably one of the better written episodes. The acting was much better than usual. But Eastman getting bit? Laughable.

And it was about 35 minutes too long.

 
(HULK) said:
Statorama said:
(HULK) said:
FYI, the All Out War arc from the comics should be coming soon. I'm expecting it to start sometime in the back half of this season.

It is, hands down, the best part of the comic.
Click to expand...
Brace yourself for a watered-down Negan
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Honestly, I'm hoping they just bleep his dialogue constantly. Rather than saying "flip" or "sheez" or whatever.
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They should get Jerry Lundegaard from FARGO to play him. Then the flips and sheezes would ring true and sound natural.

 
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I really like Eastman and his character in TWD was pretty cool. I agree they could have had him get bitten a better way, but you knew it was coming.

They should shoot the person who came up with the "Flying Dead" concept. Or at least the one who decided it should be 45 seconds long. Even though it doesn't take up much time, its an unmitigated disaster IMO.

 
kentric said:
I really like Eastman and his character in TWD was pretty cool. I agree they could have had him get bitten a better way, but you knew it was coming.

They should shoot the person who came up with the "Flying Dead" concept. Or at least the one who decided it should be 45 seconds long. Even though it doesn't take up much time, its an unmitigated disaster IMO.
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You watch it and probably watch the commercials...winner, AMC.

 
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