HBO’s “The Young Pope” is Alluring, Insightful, Beautiful & Totally Absurd (but that’s the point)

Anyone expecting this tale to be based on any semblance of historical events, can turn the other way and run.

The series centers on the absurdity of a young (well, by Pope Standards) 47 year old Pontiff with an entirely radical approach to their position. He’s a crass, unhinged, and ruthless dictator type who still manages to wrap himself in an enigma – sometimes purposefully and other times not. You want to understand him and once you think you do, he does something unpredictable. Yes, he is the omnipresent anti-hero that has become more of the norm in the TV and film industry. Let’s be honest. The ‘conflicted’ or anti-hero is way more interesting. We later see these characters as redeemable no matter how unspeakable their acts are because we get to know them. Not to get too sidetracked, just look at “Mad Men”, “Breaking Bad”, “Pulp Fiction”, “Mad Max”, “A Clockwork Orange”, etc.

So, is “The Young Pope” a good show? Absolutely. However, I cannot liken it to anything that has come before. It really stands on its own. It is relevant in how we view leadership (Jude Law’s radical Pontiff), heartfelt in how it examines preconceived notions in relation to stark realities, and strips down facades to face what’s left — humility and devotion.

Although every servant to Pope Pius XIII dresses in uniform, they are each unique, colorful individuals. Sadly enough, most everyone succumbs to the Pontiff and his ‘will’, not to mention his very dubious method of operations. The power plays that each are making have large ramifications for the Vatican as a whole. Some seem to have sincere intentions while others are doing what’s in their own best interest.

With that, the performances in this are top notch. Jude Law is hypnotic onscreen as the unlikable, yet alluringly misunderstood Pope. Diane Keaton’s Sister Mary provides a dubious foundation for Law. Perhaps the most interesting performance comes from Silvio Orlando, who plays Cardinal Angelo Voiello. Orlando’s arc, at least through the first two episodes, showcases a man of many faces. His Cardinal is hilarious, scheming and moving (especially after the Pope’s First Address). Oh, and I’d be remiss if I didn’t mention the type casted James Cromwell as the grumpy/angry character who plays the Pope’s previous mentor. Cromwell really nails the ‘bitter man’ in everything he’s in.
Check out this excellent scene from the series!

Some may believe that the series is over the top and they are right. The reason for this rests in the examination of the faith itself. Although the Vatican is captured so beautifully, it is held to showcase the opulence of it all. It encapsulates those that which to propagate Catholic teachings and ritual. Like it or not, the Cardinals and their entrusted Pope are just a reflection of this ideology. With that, the Vatican not only stands as the central governing body of the Catholic church but also as an institution that reasserts itself as the echo of God to its one million followers.

The series was created by Paolo Sorrentino who also won an Oscar for Best Foreign Language film in 2014 with “The Great Beauty”. With this HBO series, Sorrentino is really making a declaration on the state of Catholicism, politics and upbringing. The brilliant cinematographer, Luca Bigazzi, also lends his work to ‘Pope’ in a grand way.
After only the first two aired episodes, I ‘believe’ in “The Young Pope”.

Grade (first two episodes): A+

We Will be getting “Blade Runner: 2049” & a remake of “Dune” within the next few Years

I’ve always known that there was an upcoming “Blade Runner” sequel in production and when the teaser trailer for its sequel came out a couple days ago, I was floored. We are only given bits and pieces of information but the look and overall tone was spot on. We still see the fictional city of future Los Angeles from the original contrasted with Officer K’s (Ryan Gosling) journey and eventual meeting with Rick Deckard (Harrison Ford). The strongest visual element is the use of color to invoke a feeling in these settings – the city is met with a blue hue as the fog envelopes its residents and the seemingly outskirts of said city is met with a burnt orange filter. It’s an often overlooked film aspect but could be telling in how perspectives collide. After all, Deckard’s experiences in the original would likely alter him significantly.

*Oh, and let’s not forget about the use of musical cues and the eventual rise/homage to Vangelis’ memorable score.

Anyway, the loose synopsis of the sequel set 30 years in the future from the original is as follows:

“A new blade runner (a guy that hunts down replicants) LAPD Officer K, unearths a long buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years” (Warner Bros. Pictures).

The film is directed by Denis Villeneuve who is coming off the stellar “Arrival” film. He also directed “Prisoners” and “Sicario”. He’s a giant sci-fi fan so seeing him tackle these high profile films is very refreshing. Not only that but Villenueve seems to understand that a film’s key to success rests with the story and/or message. His superb direction and attention to detail make him the only candidate to create a worthy sequel to a beloved, transcendent sci-fi classic film.

Note: “Blade Runner” was based from the book by Philip K. Dick titled “Do Androids Dream of Electric Sheep?”

Note: The director even stated that he has so many ideas of how to expand the “Blade Runner” universe. So, if this sequel takes off, we will likely see more films in the future.

Note: The score for the ‘2049’ will be created be Johan Johannson, who has worked with Villenueve on his previous films. The Icelandic composer actually won a Golden Globe for best original score for “The Theory of Everything” in 2014.

The film’s release date is October, 6, 2017.

Ok, so the other news that has me even more giddy is a remake of “Dune”, based on the Frank Herbert sci-fi novel masterpiece. I’ll even go so far as to say that I loved David Lynch’s take on the material in the 1984 film but it was far from perfect. The premise and actual message (from Herbert’s material) is the huge selling point here.

In November, Legendary Pictures announced that they bought the rights to the “Dune” books and had big plans, which included a feature film and potentially a TV series. Variety broke the news that Denis Villeneueve is going to direct the film. Yes, the same director of “Blade Runner: 2049” is going to do another sci-fi spectacle? In fact, in an interview with the director four months ago with Variety, he stated as such:

I had been wanting to do sci-fi for a very long time. 2001: A Space Odyssey is a movie that really impressed me as a teenager. And also Blade Runner. And Close Encounters of the Third Kind is also one of my favorites. I’m always looking for scifi material, and it’s difficult to find original and strong material that’s not just about weaponry. A longstanding dream of mine is to adapt “Dune,” but it’s a long process to get the rights, and I don’t think I will succeed. Also I would love to write something myself. I have two [scifi] projects right now that are in very [early] stages. It’s too early to talk about them.

It seems as though Villeneuve is the new ‘it’ director, especially in the realm of the sci-fi genre. It’s strange to think that he was once considered to direct one of the new “Star Wars” movies. Perhaps the reason he declined is because of the lack of creative control he would have – see: Gareth Edwards and “Rogue One” (the film went through re-shoots and even the ending was changed).

In any case, sci fi fans should rejoice with this news. It appears as though these cherished properties will get a much needed reimagining. I know that there’s an overabundance of sequels and remakes but these are actually warranted. With the “Blade Runner” sequel, we can relish in that universe and explore all sorts of ethical dilemmas. In regards to a “Dune” remake, we can take better stock of what did not work with Lynch’s film (which, to be fair, was due to heavy studio interference) and make it better. Moreover, a remake can better adhere to the book with its socio-political and philosophical messages.

The Dumbification of Hollywood Films

“Batman v Superman: Dawn of Justice”, “Warcraft”, “X-Men: Apocalypse”, “Suicide Squad”, “Ghostbusters”(2016), “Independence Day 2”, “Avengers: Civil War” and “Rogue One”. What do these all have in common? They are all big-budget studio films that are built with or on a foundation of a franchise. These ‘tent pole’ films are being produced without an inkling of originality or creativity. Yes, I know that Hollywood is a business but they are at the point of ‘wanting’ money rather than ‘needing’ it. How many remakes, reboots, sequels and prequels do we need before we actually stop going to the theaters and churning out money for an overpriced ticket?

The more films that are watched at home, the less likelihood that there will be those that go out (to the theaters) to see movies like “The Artist” or “Moonlight”. To most, these are not ‘event’ movies to spend ten plus dollars on. Those smaller budgeted movies are at the mercy of limited marketing because studios would rather promote the next superhero movie. Moreover, these ‘event’ movies keep conversations going. Talking “Star Wars” or the latest superhero movie, makes one ‘in the know’, at least pop culturally. More often than not, big budget movies are surface level films that would rather appeal to your eyes rather than your feelings.

The biggest problem actually rests with audiences. They haven’t wised up to this ‘dumbification’. Funny enough, we are at a point where we accept films as good when we are not being critical enough to make films themselves more accountable. I was utterly shocked when there were those (not all) that heralded the narrative mess of “Suicide Squad” and most recently “Rogue One”, the most force fed (no pun intended) nostalgia trip that didn’t bother to provide any character development whatsoever. You may not agree with me but the same rationale applies to the continual release of “Transformers” movies. We want a visual overload without any context and boy, are we getting it. These ‘franchise’ films are scheduled out until 2021. Doesn’t that bother you? It should. The studios are so cocky with their properties. These franchises already have embedded audiences, especially whenever they see “Star Wars” or “Harry Potter” font gracing their movie trailers.

This could be a lose/lose situation ultimately. On one hand, the movie theater experience rivals any home theater option but we are continually getting big-budgeted, uninspired movies. However, should we wise up and hold our films more accountable, the more likely the movie theater experience could vanish all together.

It really comes down to the style versus substance debate. You can marvel at pretty explosions and special effects that help feed your escapism or you can relish in cleverly told stories that are relevant, heartfelt and stand the test of time. For it is the examination of the human condition that propagates the willingness to take upon different perspectives of us and the world in which we live.

Come on, do you really think “Avatar” is a good movie?

The “Spider-Man Homecoming” Trailer Will Make Your Senses Tingle

Hot off the presses, we have an official trailer for Spider-Man Homecoming. That fact in and of itself is exciting. It’s a tangible sign that a Spider-Man movie with Marvel’s involvement is actually happening. Whether it lives up to expectations? We’ll have to wait and see, as the trailer doesn’t give much away.

Audiences loved Tom Holland as Spider-Man in The Avengers: Civil War. His funny, youthful take is refreshing. His solo movie looks to be no different, though still full of the standard crime and villain fighting fare. The new innovation looks to be his high school life and his relationship with Tony Stark, which can be a bit awkward at times. It’s also clear that deep down, Peter Parker is still just a kid lusting after Mary Jane Watson. Will he ask her to Homecoming?

Spider-Man Homecoming hits theaters July 7, 2017.

 

 

Who Will Replace the Cubs in Futuristic Sci-Fi?

The following article appears courtesy of and with the explicit permission to use by BreakawayScore.com.

The Curse of the Billy Goat is broken. The Chicago Cubs just won the World Series for the first time in 108 years. It went down in nail-biting fashion, with the Cubs prevailing in extra innings of a rain-delayed Game 7. It was a sporting event for the ages. But what becomes epic history doesn’t exactly make for epic futurism.

The Cubs have long been a staple of science fiction. Because of their World Series drought of more than 100 years, a Cubs world championship has consistently been an easy way to make a futuristic setting seem surreal. Back to the Future II is the easiest example that comes to mind. In that 1989 classic, Marty McFly travels forward in time to 2015. In Marty McFly’s future reality (one that also included rehydrating Pizza Hut micro pizzas), the Cubs swept Miami to win it all. The real Cubs were just a year off from their fictitious win.

But now that the Cubs are champions and the Red Sox have vanquished their curse while beating it into the ground twice more for good measure, there needs to be a new team to take their place. A team whose championship would give science fiction that little extra twist on to take us a little further from our current reality.

Ideally, each story should have its own take. There are at least a few candidates that come to mind, and I should note that I’m restricting the candidates to the four major American sports leagues: the NFL, MLB, NBA, and NHL.

The NBA has 12 teams that have never won a championship: the Clippers, Grizzlies, Hornets, Jazz, Magic, Nets, Pacers, Pelicans, Raptors, Suns, and Timberwolves. The Cleveland Cavaliers removed themselves from that list last season. None of those franchises have a particularly tortured history, in part due to how many of them are relatively recent expansion teams. Though plenty of those teams have made – or come close to making – the NBA Finals. The Clippers have perhaps the longest stretch of futility before the arrival of Blake Griffin and company, but they’re a little too good right now to feel like they’d be a wild science fiction champion. In all honesty, none of those teams would register much impact to the average sci-fi audience. Personally, the Hornets would be my choice just due to their novelty.

If you’re going to stick with a baseball, six teams have never won the World Series: the Astros, Brewers, Mariners, Nationals, Padres, and Rangers. The Rangers are the oldest of those clubs, debuting in 1961, but they last appeared in a World Series in 2011. Of those that have been to a World Series, the Brewers have the longest absence, as they last appeared in the 1982 World Series. Two of those teams have never even played in a World Series: the Mariners (est. in 1977) and Nationals (est. in 1969). The Cleveland Indians do have somewhat of a tortured history. Their last World Series win was in 1948. Twice now, in 1997 and in 2016, they have been painfully close to winning it all before watching it slip away. One could pick Cleveland due to their painful history, though it isn’t as deep as the cursed Cubs or Red Sox teams. Or one could pick any of the other six MLB teams for their sheer novelty.If the Nationals were still the Expos, they would be my pick. Perhaps in a futuristic society, the Expos can make a comeback.

As for the NHL the Toronto Maple Leafs have a 48 season Stanley Cup drought, and the St. Louis Blues have a 45 season drought. But nobody cares about the Blues except Blues fans. In addition to the Leafs’ never ending futility, Canada as a whole hasn’t won a Stanley Cup in an astounding 22 seasons. Think about that – the birth place of hockey. It’s a crime against hockey, eh? If I’m going to make my sci-fi winner an NHL time, it’s going to be the Maple Leafs every single time.

But I think that the NFL houses the new symbol of sports futility. Actually, there are two that are nearly equal in their ineptitude. One is the Cleveland Browns, who haven’t won a title since the year before the Super Bowl started. They haven’t won a playoff game since 1994, their original franchise packed their bags for Baltimore in the middle one 1996 night, and they seem to find new and innovative ways to lose annually. There’s also another NFL team that’s even worse historically speaking. It’s a franchise so inept that not only has it never been to a Super Bowl, it boasts only a single playoff win in its entire history since the NFL-AFL merger. That win was in 1991, and that team is the Detroit Lions.

A story that features either a Browns or a Lions championship easily takes the audience outside the bounds of reality. It’s an event that really says “Wow! The future here really IS different!” I truly don’t foresee either the Browns or the Lions winning a Super Bowl in my lifetime. The teams are that bad, and their ownership is hopeless. It’s just a small thing that adds a little bit of texture to the overall setting. But the right sports team can create a memorable impact – even if it is tongue-in-cheek.

The World According to “Westworld”

We are addicted to ‘escapism’. It’s all around us – movies, TV, video games, sports, art, etc. In all of these aspects, we revel in a fictional reality where we fill in the ‘disconnect’ with our imaginations. For example, we can choose to see ourselves amongst the residents in the sitcom “Parks and Recreation”, imagine ourselves the hero (or villain) in video games like “Call of Duty” and “Grand Theft Auto” or simply become enthralled by a catchy song or sporting event. While there are many forms of escapism, what if we were able to experience a fictional reality in which we cannot discern from our own?  

This is one of the many questions that the groundbreaking HBO series, “Westworld”, pushes forth. Not only that, but also built around this premise is that you can live without any inhibition — thereby free of ridicule from the ‘real world’. This very notion should horrify anyone with a conscience as it will most definitely be an issue in our near future with the ever changing technological landscape that would rather satisfy an immediate want than actually take a look at the deeper implications.

With that, Westworld, at least on the surface, is an adult theme park. However, this park means something different to each visitor. So, as the initial, brief synopsis of the series would suggest this is about the dawn of artificial intelligence and the future of sin.

There are so many interesting angles in which to view the world building series. Should we feel guilty for enslaving hosts (aka androids) to do our bidding so that we can live out our wildest fantasies? Is who I am in Westworld the real me? How similar are we to the hosts in Westworld? What does it mean to be human? Where is the line drawn between nature and creator?

 

Other Factors to Consider

• The Production

Even outside of the wonderful and provocative elements that pervade the series, much can also be said of the production. This is a big budget series with brilliant performances by a proven cast that includes Evan Rachel Wood, Thandie Newton, Ed Harris, Jeffrey Wright, and Sir Anthony Hopkins. There is even a fascinating musical score to accommodate the beautiful visuals — thanks Ramin Djawadi (composer of “Game of Thrones”). Oh man, Djawadi’s rendition of “Paint it Black” in a pivotal scene from the pilot episode really brought every neat aspect of the show together.

• The Writing

As if the premise weren’t enough, you can appreciate the meticulous writing and the subplots, for which we know, are all entangled with one another. I do liken the narrative structure to that of “Game of Thrones” in that there are inter-weaving storylines that all take place in Westworld and behind the scenes (with the creators). Moreover, every character is uniquely different and is explored with a focus on their ethical stance in relation to the ‘sinful’ theme park.

• The World Building

Unlike all video games (up until now), there aren’t any rules for human guests (aka newcomers) to abide by.  They can go and do whatever they want. All guests are dropped in the center of a western town where everything is honky dory but everything becomes more dangerous the further they venture out. Humans cannot be killed but the hosts can (and are routinely). After being killed, the hosts awake without memory (supposedly) of what happened before with only their narrative loop to follow. How terrible of an existence is that?

There are even other towns to venture off to, if you are lucky enough to find an Easter egg to lead you to them. Each of these is distinct while other types of characters (hosts) are part of the interactive sprawl.

• The Mystery

Along with the world building, also comes the allure of the unknown. This takes form in the fact that (up until this point) we are not shown the ‘real world’ outside of the company overseeing the adult theme park. We get bits and pieces of how it may be but we see none of it. However, the Man in Black (as he’s known), does state that the real world is too blasé and that many seek places like Westworld so that they can actually feel a sense of adventure or an adrenaline rush.

Furthermore, even the Man in Black (Ed Harris) is ultra-mysterious. We slowly learn what he’s all about and that his ultimate goal is to reach a secret destination, by following a maze (which is also hidden within Westworld). All that the Man in Black knows is that it exists and he believes that it’s there to give the whole theme park meaning. Of course, the only person that truly knows is Robert Ford (Anthony Hopkins), one of the founders of Westworld. To say that the theme park’s origins are muddled would be a gross understatement. Everything we know about its true creation is only briefly touched upon, thereby leaving Ford’s true motivations up in the air. And boy, let me tell you that he’s one not to mess with. He controls every host with a wave of a finger.

 

Mid-Season Grade:  A+

 

In Summation

Satisfy your curiosity and watch “Westworld”. You’ll be glad you did. There’s a reason everyone is starting to talk about it.

 

Note: You do not need to watch the 1973 film, “Westworld”, on which this is based. You aren’t missing out on that much outside of the original, sci-fi concept.

I can’t sing enough praise for such a provocative series. “Westworld” last aired its 5^th episode and have five more to round out the first season, which will more than likely be renewed for a 2^nd season (due to the incredibly high ratings).

The show was created by Jonathan Nolan and Lisa Joy and airs on Sundays at 8c/9e on HBO.

‘The Flash’ Director Rick Famuyiwa is Out. Does it Mean Anything?

In what could be a foreboding sign for the future of the DC cinematic universe, The Flash has now lost two Directors. Courtesy of The Hollywood Reporter, news came on Halloween day that Scott Famuyiwa is no longer the Director of the upcoming The Flash movie that was scheduled for release in 2018. Famuyiwa left the movie due to alleged creative differences.

Famuyiwa most recently directed Dope, a fun and relevant coming-of-age movie for the 21st century. He recently told The Hollywood Reporter that he had been looking forward to making The Flash:  “When I was approached by Warner Bros. and DC about the possibility of directing The Flash, I was excited about the opportunity to enter this amazing world of characters that I loved growing up, and still do to this day.” 

He also reportedly had the following to say: “I pitched a version of the film in line with my voice, humor and heart. While it’s disappointing that we couldn’t come together creatively on the project, I remain grateful for the opportunity. I will continue to look for opportunities to tell stories that speak to a fresh generational, topical and multicultural point of view.”

While the specific factors that went into the creative differences weren’t revealed, it’s fair to wonder what Warner Bros. and DC Entertainment were expecting out of a Director who could have given The Flash a fresh and vibrant take on a major DC Comics character. Reading between the lines, because Famuyiwa specifically mentioned that his vision was in line with what we’ve seen previously on the big screen, it’s also fair to infer that the studio may have rejected a more vibrant and humorous iteration of The Flash.

That’s not surprising, considering DC Entertainment’s widespread reputation for producing “grimdark” superhero movies that are devoid of fun and hope. It’s a reputation that Geoff Johns, Jon Berg, Zack Snyder, and Deborah Snyder have reportedly been looking to change. But the news that Famuyiwa’s vision was rejected makes one consider just how far DC is willing to go to try to lighten things up. Right now, in the wake of this news, it seems that attempts to lighten the tone of the DC movies will be largely superficial and that the tone will not change in any material way.

A new Director hasn’t been announced yet, so while it feels unlikely in this moment, it is still a possibility that whoever replaces Famuyiwa could potentially be an even better fit. Personally, I was looking forward to his take because he has the proven talent to make the kind of superhero movie that many DC movie fans have been craving. As usual, we’ll have to wait and see. The proof, as they say, is in the pudding.

 

 

Check Out the Final Fantasy XV Cinematic Trailer!

Final Fantasy XV has a new cinematic trailer to help promote its end-of-November release. While we already knew that a significant portion of the game involves a contemporary urban world that’s not so different from our own, the new trailer teases a world that goes much deeper.

With dueling visions of life and death, a white dog who’s all of a sudden a black dog, and a sprawling cityscape versus a desolate wasteland and a giant three headed hell beast, it’s clear that there are much more fantastical elements to the game than some of the earlier peeks revealed.

Some of the graphics look stunning, though not in all places. Much of the world has a hazy visual effect in the same way that some Nintendo games use that haze to conceal suboptimal resolution in the landscapes and backgrounds.

Whether this is the best looking game ever or not, it’s certainly the most stunning edition of Final Fantasy ever released. That release date is November 29, 2016, and this time it looks like Final Fantasy fans’ tortured wait is finally coming to an end.

 

Why Aren’t You Watching “Black Mirror”?

Seriously, it’s a legitimate question. What? Haven’t heard of it? Let me enlighten you. The popular series focuses on individual tales (per episode) that take place in the near future where our collective unease with a technological based society is examined. I’d like to think of it as a modernized “The Twilight Zone” or “Outer Limits” but more believable.

 

A Little Background

 

The series was created in 2011 by Charles Brooker and was showcased on Britain’s Channel 4 (Britain’s Public Service Channel). The series eventually made its way to American audiences and ultimately Netflix. In fact, Netflix actually commissioned the third season of the series, which just debuted on October 21, 2016. You can catch the show in its entirety on Netflix streaming.

Note: Every unique episode is around an hour long.

Season 1 (2011): 3 episodes

Season 2 (2013): 4 episodes

Special (2014): 1 episode

Season 3 (2016): 6 episodes

 

 

Wait, you didn’t say what’s so great about it!

 

Yeah, I know. I’m getting there.  Every one of these ‘tales’ are relevant. They each are an exaggeration of where we could be tomorrow. Furthermore, this notion is carried out in different genres – thriller, parody, horror, and even a relationship drama or two.

 

The series taps into society’s subconscious and our underlying paranoia while also reflecting on how technology will transform how we relate with people and the world. With this, the series doesn’t just apply to a certain demographic.

 

Not So Random Thought: With the leaps and bounds in technology, we are becoming less and less aware of the implications that come as a result.

 

Some of the notable episodes include:

 

– “The Entire History of You” – This chronicles a couple unraveling due to eye technology that literally records everything. You can imagine the myriad of problems that can come as a result.

– “Shut Up and Dance” – This center’s on a teenager after being hacked and bribed to do unspeakable things.

– “Nosedive” – A woman unravels after trying to get rated as high as possible on a People App. This is a personal favorite of mine. In fact, there is an app, like the one depicted, that now exists. It’s called ‘Peeple’ and it sounds just as dangerous (and stupid) as one might expect.

 

On top of all of that, the sheer scope, performances and incredible directors (Joe Wright even took the helm for an episode – “Atonement”) are to behold. Charles Brooker actually wrote most all of these episodes and it’s hard for me to fathom such a gifted (or warped) mind is responsible for such rich, plausible stories.  

Let’s not forget about the performances either. They all do exceptional work here. The latest season has Bryce Dallas Howard, Alice Eve, Wyatt Russell (that’s Kurt Russell’s kid), Michael Kelly (Doug from “House of Cards”), Jerome Flynn (“Game of Thrones”), and Mackenzie Davis (“Halt and Catch Fire”).

So, if you like provocative story lines with a top notch production then look no further than “Black Mirror”.  

Negan Should Have Killed Cliffhanger Tropes on ‘The Walking Dead’ Season Premiere

SPOILER ALERT: Turn back now if you want to avoid them.

It makes you sick to your stomach to watch. But you just can’t help it when it comes to The Walking Dead, can you? You sick, twisted puppy, you.

Fans flocked in droves to watch the season premiere of The Walking Dead last night, after waiting an eternity to see who Negan was about to kill at the end of season 6. But six months wasn’t enough to make fans wait to find out who Negan killed. Oh no. The fans also had to be tortured by waiting additional 15 minutes to see who died in a flashback.

The first death to be revealed was Abraham, whose head Negan obliterated with Lucille (the barbed-wire-covered baseball bat). Then fans were made to wait another 10 minutes to reveal that it wasn’t just Abraham who met his fate. It turns out that Glenn also got the wrong end of the baseball bat, after dying and being resurrected earlier in the series.

In all, the episode was like descending into deeper circles of hell, both in terms of brutality and narrative contrivance. The episode did succeed in establishing just how far Negan’s dominance and madness goes. As for the protagonists, Rick was the lens through which everything was filtered, showing him fighting off walkers while being utterly and completely broken by Negan, who stopped just short of forcing Rick to cut off his son Carl’s arm. The effects the deaths had on others in the group were touched on briefly toward the end as an afterthought.

In and of themselves, the shock value of the madness, violence, and emotional turmoil in the premiere had a big visceral impact, but those elements weren’t really the problem. This is The Walking Dead, after all. Nobody is traipsing through fields of daisies. The problem was with focusing solely on shock value while getting too cute with contrived narrative devices.

The episode lingered much too long from the beginning to the big reveal. In fact, the deaths should have happened at the end of the last season, with this season beginning to deal with the aftermath in a compelling way. But at the very least, the deaths should have been dealt with swiftly at the beginning of the episode. The premiere also lacked good storytelling. Too much focus was placed on Rick’s perspective, and not enough on other characters’ reactions.

The episode simply didn’t have the payoff that fans have been craving. Which is a shame, since the source material is good reading and the potential is there for The Walking Dead show runners to tell a good story. Instead, the viewers get only shock value and contrived drama through time drags and trite narrative devices. It seems to be a consistent problem as the show ages.

But then again, you can’t help but keep watching, can you?