The producers and writers of AMC’s “The Walking Dead” must be all puffed up with pride, squeezing three weeks of artificially-goosed ratings by faking the death of a major character and then bringing him back safe and sound tonight as blithely as they used to do with Pearl White in the old “Perils of Pauline” serials after the previous episode ended with a buzz-saw inches from bisecting her, or with a speeding locamotive yards away with Pearl lashed to the tracks. (No, damn you, I’m not THAT old!)
Well, they can be proud without me. I don’t appreciated any show treating me like a fool, and that’s exactly what “The Walking Dead” did with this cheapest of cheap stunts. This is drama, not “Die Hard,” not “Days of Our Lives,” and not Gilbert and Sullivan. Silly resolutions of crises are expected in those and other genres, and an audience is forewarned and consents to the absurdities to come; it’s part of the fun. “The Walking Dead,” in contrast, has presented itself as an uncompromising, raw, nihilistic survivalist study of a hopeless and deadly world where death is lurking everywhere, and even heroes (who are barely heroes anyway) aren’t safe. It is the constant threat of a horrible death that give the show its legitimacy and its characters weight.
Take that away, and the the show is pointless gore, just a special effects exhibition with a repetitious plot attached. I know most people don’t demand integrity from their elected leaders or their entertainment, but I do. The producers and writers of “The Walking Dead” think lying is cute and profitable. I supposed its ovine fans will prove them right.
I say its unethical, and I say to hell with them.
Update: Actor Steven Yuen, who plays the now miraculously alive character, said after the show aired:
“I think it proves that this world still can take that story of the good guy winning sometimes. I really like the fact that it’s not this bent of always seeking out something miserable happening on television or something terrible and sulking on that and rather just really accepting the fact that sometimes good guys survive.”
Baloney. What this proves is that this world, which knows that good guys die all the time, can be gulled into caring about the demise of a fictional character as if that character is worth caring about, when it is is in fact just a tool of commerce and emotional manipulation by a creative force that has no interest in any artistic or philosphicaltruths, only a cynical commercial one.