I don’t know how to feel about this.
“Go Getters” opens with a view to the Hilltop — something we haven’t seen a long time. (Surreal side-note: It’s crazy to see R. Keith Harris again as Dr. Harlan Carson. I had the pleasure of working with him on the unreleased indie flick, Elbow Grease.) We also FINALLY get to see Jesus again. It feels like ages since we’ve seen this community… and it makes you realize how many characters we’re juggling nowadays. I’m surprised it doesn’t feel bloated (I guess that’s a testament to how well the episodes are generally divided in terms of focus). That doesn’t mean it’s particularly good, however.
Initially, It’s nice to finally see Carl return to some quieter moments with Enid. I feel like Chandler Riggs is finally settling into this new era of his character. He can’t rely on his boyish naivety anymore. They share a cute, teen moment on their sets of rollerblades. It makes me yearn for an episode where those two could’ve grown together without the crutch of other situations in a given show.
Later, Simon’s smaller cell of Saviors lay a grand overnight trap for the Hilltop. Seeing walkers slain to classical music is a sight to behold; Maggie’s heroic tractor moment is stellar staging… complete with some truly amazing effects work. Why can’t all effects shots be master class like this?
Gregory’s forgetfulness of names and people he should know is comedic in a way that spoils the moment. You mean to tell me that, this guy has been the head of his community for over two years and still struggles to remember who’s in it? I can’t even understand it for Sasha — or even Rick. It’s Three Stooges level humor.
Thankfully, Steven Ogg’s Simon steals just as many scenes as his big boss man. I’m happy to see him get more screen time. His sarcastic tone is just as delightful as Negan (it’d be cool to see them both tear up a scene together soon). I’d love to see him elevated over Dwight in terms of the story going forward, but I know that’s wishful thinking.
Overall, seeing Maggie and Sasha struggle to move on shows us just how empty these two characters are without having their men to counterbalance them. It’s a sad result of TWD’s inflation of people (and how difficult it is to give equal time to a large ensemble in a television show. medium compared to a graphic novel). Instead of the layered portrayals of the past, we’re getting flat versions of the characters that once demanded my weekly attention. This is the kind of episode that feels good in the moment to get to the next part of the story, but it isn’t one a person would rewatch for the fun of it — or because it particularly stands out in any way. The exposition is painfully slow so this episode stands out like a sore thumb. I’m excited to see what it does with the source material, but when the show abstains from too many major players at one time, the one hour run time can drag on and on (despite standout singular performances).
My patience and desire to care is waning.