![]() Just as impressive, albeit in a different way, is the development of the relationship between Negan and Marshal Armstrong – who’s also escaped The Croat’s trap. Amidst the carnage, a long-buried betrayal is unearthed, which culminates in some characters’ storylines reaching an abrupt and regretful end. It also features an attack on one of the group by an impressively realised ‘combo walker’, the invention of showrunner Eli Jorné (a nightmarish blend of the creature from Alien and a Hellraiser Cenobite – and very bitey with it). It is a little odd that these sewers appear to be bone dry, but the sense of danger in dark confinement is well evoked and reminiscent of the early episodes of The Walking Dead’s own final season. The tension rises as the escapees make the unwise decision to stop and rest amidst the sea of cadavers, even as they struggle with the effects of the methane gas that The Croat has been deliberately syphoning off as a fuel source. These claustrophobic sequences are lit and shot to edgy effect by director Gandja Monteiro. It’s a grim and forbidding network of pipes and junctions, littered with the decomposing remains of countless walkers. With Maggie’s and the survivors of the tribespeople’s group taking the only option to escape the walker horde at the stadium, they are forced to travel through the sewer system on foot. ![]() ![]() It’s a series of shifts that speak to the confidence of the show’s writers and confirm how effectively they have been able to adopt the rhythms of the mini-series format. So many hidden secrets are revealed in Stories We Tell Ourselves that the whole premise of The Walking Dead: Dead City is cumulatively reworked across the events of this one episode, ahead of next week’s first season finale. ![]()
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