Don Jon Review

Don Jon Stumbles, but proves that Levitt is A Promising Director

Porn is more gratifying than actual sex. Objective reality over an ideal lifestyle. These are just a few things writer, director, and actor Joseph Gordon Levitt attempt to convey in his director's debut Don Jon and whether the film succeeds in delving into these modes of thought is based entirely on the viewer. I only say that the success of the film resides within the viewer because the explicit use of sexual imagery may turn many viewers off. That said the film deals with modern take on the legend of Don Juan, a old tale of a man who is a womanizer and morally unrestrained, so if you are walking in with expectations of a classy and clean film you're better off playing chu-chu on Mr. Roger's train-set.

Now with all that considered, the movie does succeed for the most part in conveying its message. Jon Martello, known as the "Don" for scoring "10s" and being an all around womanizer, lives a objective lifestyle. He cares about a few things: his body, pad, ride, family, church, boys, girls, and most importantly his porn. This is an important distinction that Levitt expresses within his character; Jon views everything through an objective mindset, only giving minute details on the ways he conducts these activities. His lifestyle for the most part is presented as typical, mundane, and even at times boring. The only thing he gives much thought to is the pornography he watches, which is ironic considering that he lives his life so impersonally. Pornography is an idealistic vessel that he derives delight from because it presents everything in perfection and "that ass.. those tits," that Jon refers to is instant gratification. The idea being that all humans contain this feeling of aphrodisia, Jon wants to abstain from all these emotional ties and subjectivity and get straight to the point.

Hustling all these women, Jon begins to wonder that maybe the joy he derives from adult films can be acquired if he finds the right girl, which brings in the second vessel of illustrating humans obsession with idealism in place of reality. Jon's love interest known as Barbara Sugarman, portrayed by Scarlett Johannson, is someone he believes that can help him come in touch with reality; this reality being the absolutism he finds in pornography. However Barbara has her own mindset of love that he perceives through Hollywood depictions of romance: the man being a gentleman, the woman being the princess, and both live happily ever after. This presents an interesting contrast between male and female perceptions of love and its sensuality and animalism versus the romantic prospect. Considering how stark a contrast and yet how similar both mindsets are, it was very disappointing to see how the latter was not further explored or delved into. Other characters include Julianne Moore's Esther who does a great job in encapturing the holistic vision of the film in the third act, as student at Jon's community college to enlightens Jon that since the affair of sexual relations involves two parties, it cannot be solely delved in with a singular mindset. Tony Danza, who plays a supporting role as Jon's father, also does a great job at demonstrating why Jon thinks and acts the way he does being fostered by parents who live a archetypal lifestyle where the man watches Sunday night football, while the woman banters about how his husband does not care enough about him; creating the mundane outlook Jon has on social reality in contemporary society.

The narrative space from which the Joseph Gordon Levitt relies on to tell his story as a director is amplified by interesting visual imagery and camera work put off by the production crew. The audience is constantly bombarded with cuts of pornographic tapes that are assumed to experienced by the protagonist, simulating an almost schizophrenic and mental breakdown. Additionally the movie often and intentionally does present repetitive sequence of footage showing Jon going to the gym where he works on his body, meticulously cleaning his apartment, and going to the church to absolve himself of his sins. This sequence of footage becomes so familiar and repetitive it both hinders the films making it less amusing to watch but getting to the point of showing Jon's perspective on life and just how unappealing it is to him because of how routine it is. However it does get to the point where the audience wonders why the film-maker decide to constantly bombard the audience with this sequence making it seem almost preachy. Though that being said, I do believe that Levitt's ability to convey this message and the variety of camera work to express his delusions and point of view does show to a large extent his capability as a future film director.

Before concluding it is important to note that the film does cover the power of the church in absolving humans for their sins. Jon visits the church to tell his transgressions of watching porn and having premarital sex with various women. Additionally there are times where he lies to his priest about committing these "sins," however whatever the case may be he gets the same response "say 10 hail marys" and you shall be absolved of your sins. This may seem like thinly veiled in the case against religion, but it does raise questions about how one can be absolved of sin, how can one commit vices constantly and yet be so easily be forgiven. No matter what you do, forgiveness is granted. It is not fully explored, but it is a nice touch to provide some social commentary on the questionable practices of the Catholic Church and how people perceive the archaic aspects of religious in  modern society.

Don Jon is not a great film, but it is a good film that successfully illustrates the faults of  the idealism in romanticism found from both sides of Hollywood: the film industry and the adult-film industry. The repetitive nature of film does become cumbersome about half way through the film, but the interesting camera play makes the film some what compelling to watch. Furthermore the acting by the main cast, including the feat by Levitt being both director and the lead actor, goes on to demonstrate that Joseph Gordon Levitt is a very capable film director and story teller even if the film stumbles every now and then.

You're Beautiful Babe, can I go home and watch my porno now?

7/10 Woodys *This Review has not been edited yet...*

Breaking Bad Buried Review

Walter leaves the Meth business in order to uncover the family he buried behind him, however one cannot simply reemerge from a troubled past unscathed. Directed and written by Breaking Bad veterans Michelle MacLaren and Thomas Schnauz, we are given a glimpse of the reality. A reality that is chaotic and almost nonsensical, where bundles of money are discovered by an elderly man in order to find a man beyond repair. Jesse Pinkman, Walter White's partner, has reached an ending point where he does not know where to being or go. This is not some sort existentialist and hopeless outlook, not finding the means to define his existence, so if you are searching for some life-defining revelation on what it means "to be" then go look elsewhere (But please read the article). Rather Jesse has become fragmented as a individual losing those around him resulting in his life to both mentally and physically, as illustrated by the high-angle shot on the merry go around, spiral out of control. 

Elsewhere we see that Hank has contacted her sister Skyler, and asks her come meet him. Skyler is smart enough to assume that something is wrong, and the apprehensive scene that comes forth is only amplified by the irony that it occurs in a diner. Hank expresses his deep hatred for Walt's betrayal and as he puts it "the lives he's destroyed," and Skyler does not blatantly cast aside these truths. However, he mentions a slight detail about how Walt's cancer is back and Skyler instantly absorbed with a protective mindset. Many people may be put off by this turn of events, expected that Skyler would be more than happy than to turn in her meth conjuring husband in to the DEA. Although that is true in some respects, it was only a little over a month where Walt has quit the business. During that time she felt that she had her family back again, that there is some solace to be found to this world of peril that Walt's actions brought. Skyler feels threatened, as any mother would, by Hank's allegations to arrest Walter and take away her family. It's an interesting dynamic played off exceptionally by actors Dean Noris and Anna Gunn through the harrowing dialogue and mannerisms they exhibit. What we are given at the end is the interesting dilemma where Skyler chooses to side with Walt, and yet it is completely understandable given the circumstances.  

However this show is not all about death and despair, they are few moments where we there is a spotlight put on the comedic aspect of show. Saul Goodman's assistants, Huell and Kuby, are told extract Walt's money from the warehouse and bring it in for safe keeping. The show could have simply have progressed, however the show is already serious enough, considering the audience is watching a show about the rise and fall of a "drug-lord" who has lung cancer. Thus in a very Breaking Bad  fashion, some comedic elements are employed to given some humor within all this seriousness. Ideas like just skipping town and living life like Scrooge McDuck and sleeping on a large canvas of money creates a comical effect. This is drug money, but who cares money is money, and in any other situation anyone will be more than happy to take it. Sequentially, in the next scene Saul discusses with Walt his predicament with Hank finding out the truth. Saul amuses the idea of having him take a trip, like Mike, and visit Belize. Its moments like this that make me appreciate the show for not only conveying a true cinematic experience, but one that also finds ways to make people laugh in a seemingly hopeless situation; gallows humor is technical term for the lit aficionados.

Later on, Marie and Skyler have a talk about Walt's involvement in his nefarious affairs. When it comes to topic of Hank and whether Walt was involved with the cartel's attempt to murder Hank, she hesitates to answer. As fans of show we know that the hit on Hank was given by Gus, however Walt gives information about sparingly about his alter-ego Heisenberg, that it is safe for Skyler to assume the worst in people especially in the case for her husband. She simply answers, "I'm sorry Marie," and Marie answers with a slap to the face. This scene is hard watch and makes the viewers cringe at every frame, making both a grieving and enthralling moment to experience. Also it is interesting to note that the actors actually cried when performing this scene because they felt such an emotional attachment to these characters and their relationship, so no fake teardrops to expected here. Marie then returns to cleptic behavior by attempting to steal Skyler's baby daughter, which gives rise to chaotic scene. Skyler and Marie fight over this child as the baby cries over the background, amplifying the emotional atmosphere of the scene. Hank comes in resolve the issue and asks Marie to leave with him. They do leave, however with little resolve; this family will never again hold the aspects that a loving and caring family have, what we are instead left with a is broken ties and gloomy prospect of how it will all end.

Other notable scenes include Walt's visit to To'hajiilee, an homage to the desert where all this meth-business began back in the pilot. This is another powerful scene where Walt's anguish and suffering are given physical form with him having to leave all his money hidden and without trace by himself with his cancer, coughing and throbbing at any given moment. It also includes some interesting camerawork of framing each shot and putting an adhesive label over the camera lens to show the coordinates given off by a "gps device." Additionally the scene with Lydia and her reign to control in the meth industry by eliminating Declan and get full-fledge support by Todd and his coassociates of Neo-Nazis shows that even the meth industry that Walt operated is going down the shitter. Considering the effort given off the members of production set, the actors, and the editing crew this episode stood still and conveyed a cathartic experience that was extremely gratifying to watch as an
avid fan of show.

Blood Money Review( My Thoughts and Recollection of Breaking Bad )

Fall has passed, leaving what was once nurtured by nature at an end. An abandoned and looted residency, that was once occupied by the loving family of Nobel Prize chemist Walter White is now left asunder: shattered pieces of glass and the dust that has long occupied this house can be said to symbolize this divide. However more or less this divide has been long established by Walter's troubled past with Gray matter, leading up to his recent involvement in the drug industry, specifically the production side of methamphetamine.

This life he has lived up on till this season is warranted by this rise and acquisition of an empire, but that is not to forget the hurdles he faced along the way from psychotic meth head Tuco Salamanca or even the cunning Gus Fringe. Despite his rise in the "empire business," consequences must be brought to those who have done wrong to those around them; Heisenberg's uncertainty principle does not apply in the world of breaking bad, as the momentum and position of Walter will ultimately reach a definite location, an end .

The final eight episodes of Vince Gilligan's Breaking Bad are now airing, and the weight and intensity of each episode is measured by the performance given by the actors, screenplay, cinematography, and a myriad of other factors that help amplify the cinematic quality of this show. The cold open gives a endearing image a loving father and expert chemist turned to the prospect of becoming a self-made millionaire in the meth business. That much is true, however all that build meets an ultimate realization when arrives some few months after he is presumably on the run, leaving behind his family and loved ones. He arrives to his home which has been long abandoned, as he goes in to pick up his ricin that he hid in an electrical outlet from the season 5 premiere, we takes a good look at himself. We see Walt's hazy reflection of his own image, filmed by Michael Slovis, through a the shattered mirror in his bedroom. Growth, decay, and transformation is said to the study of chemistry, the study of change according to Walter White. But what we see in Walt's apprehensive grin, his old weathered look is bitter regret. This expressive exposition by Bryan Cranston is only enhanced by the leathered look of his home which has taken toll where the coloring of the has turned from clear to opaque, that the only light being shed on Walt's home is the seemingly blinding light of revelation creeping behind the cover boards of the windows, by production designer Mark Freeborn, leaving behind a permanent stain across his living room wall labeled Heisenberg, the cause of this change.

As he leaves he greets his old neighbor Carol who is terrified at the sight of Walter. This shot from the cold open is paralleled later in the opening act of the show where Walt is seen with his family having a barbecue, greeting Carol who is happy to see him; en-capturing the pure emotive change that this show conveys for the past five seasons. Elsewhere Jesse Pinkman, portrayed by Aaron Paul, is seen speechless, with a look of disgust and terror on his face. These mixture of emotions have manifested a state of hysteria where he chooses to throw out the five million dollars that Walter has given him. His state of mind is to acknowledge that his simply blood money, money that was given only through the means of eliminating anyone in the way of the drug business. Admittingly children we're killed, and whenever children are killed people blindly say that once that happens things have escalated too far, but I do not believe that same emotion can be reciprocated by Jesse. Jesse feels that children embody a certain purity, that they are absolved and stood clear of the corruption that surrounds them. However when this unfettered purity is encroached by immorality and violence, Jesse feels that he is personally responsible for violence that is lashed on those who are innocent, that the drug money he would normally accept must be refused under the knowledge that it is "blood money."

Without dragging on plot details and the cinematic atmosphere of the show, I will lastly comment on the mental state of DEA agent Hank Schrader, portrayed by Dean Norris. At the midseason finale Hank had an epiphany on the crapper when reaching for Walt Whitman's Leaves of Green. Surveying through the pages of the book he notices a note that resembles the penmanship of Gale Boetticher, Walt's former assistant in the Fringe meth lab. He puts one to one together and realizes that Walt may be in fact the Heisenberg that he has been searching for almost a year. Now a year later, this premiere depicts Hank leaving the restroom seconds after his discovery. Walking to his family, who presume to enjoy their barbecue, we overhear Marie jokingly state that Walt is the "devil." This perfectly juxtaposes the image of Walt as a father who is holding her daughter caringly and the Heisenberg, "the one who knocks." By circumstance Hank is faced with a dilemma with not only facing on the prospect of turning in his own brother in law and destroying family ties, but also ruining his career by indirectly covering for his brother's criminal activities. It's an interesting dilemma, which is only amplified during the ending scene between the confrontation of Hank and Walt. Hank begins to pummel Walter and coarsely swear at him for making him look like a fool; that he will do anything it takes to turn him in. Regardless of the fact that Walter's cancer his returning, he has spread his cancer to those around him leading to the deaths of hundreds: the victims of 737 accident, the nursing hospital, and the countless victims who are caught in Walt's path. Hank cannot forgive him, yet hesitates to turn him in because he is speechless by not only this revelation, but this betrayal. Hank loves he brother in law and it feels as if Walt has just nailed him in a coffin, unable to fathom which way he should go and how to even begin pursuing this ordeal. Whatever path he chooses to take will be interesting nonetheless, but as Walt suggests maybe the best path to take is one where he "treads lightly."

Orange is the New Black Season 1 Review

Orange is the New Black Rarely finds itself "Dropping the Soap"


Prison life details a morbid and grim look at humanity; an void of social-delinquents, murders are just some details that can be used those who occupy this space behind bars. Though these "outcasts," as perceived from the general public,  seem monstrous in reality they are human. This is obvious, however what Jenji Kohan's Orange is the New Black finds itself doing often is painting light to these hardened criminals and humanizes the dehumanized. This is not a novel concept, but the method through which Kohan's characters interact with one another indirectly fleshes out their respective characteristics', creating a fluid and atmospheric experience.

Though enough with the abstract, considering that this show rarely deals with such subject material. The narrative deals with the story of Piper Chapman, portrayed by Taylor Schillings, who is sentenced to one year in prison for her involvement in a drug smuggling incident with a her former lesbian lover Alex Vause, played by Laura Prepon. Growing up with an adventurous mindset to explore and to pursue a positive mentality, Chapman presents the audience with the archetypal protagonist who finds the silver lining in every situation. However her desire to find the best in everything and everyone presents the inherent twisted nature of her character.

There lies a sick infatuation with her belief that she can heal the social ills of the inmates and to realize their own humanity. However the show is smart enough to point out that as the show progresses the inmates come to terms with themselves, rather than Chapman instilling those values. Instead what the audience perceives from Chapman is her twisted state of mind, which propagates her further to insanity; this is further amplified in a key scene where is begins speaking to a apparition across from her while she is in solitary confinement. Without detailing specific points within the plot itself, Chapman begins as an innocent "dandelion," as coined by several inmates, however she title is simply something she blindly adheres to; and as the plot further progresses we can see her true mental outlook unfold rather than radically change.

However that is not to say that Taylor Shillings outperforms the rest of the cast. The performances given by the side characters of the show are just as important to reflect both prison life, and how humans choose to define their existences. Notably Ms. Claudette, portrayed by Michelle Hurst, is introduced to the audience in the same manner as the prisoners/inmates view her. Rumors lurk on the prison grounds that she was sentenced for 1st degree murder, however perceptions change as characters develop. But Kohan does portray a bliss admiration for these characters after we learn that she had well intentions, showing that the prisoners initial reception of her are not well-forgotten and consequences will occur, particularly for Chapman. Additionally the prison guards also have a valuble presence on the show. Whether they seek to romantic endeavors with inmates, seek to assert dominance through sex, or retain a superiority complex through their own necessary means. Though like with the prisoners these characters retain the same humanity as the inmates, which provides for an interesting juxtaposition between those who are and are not behind bars.

Even characters like "Pornstache" Mendez  do not exhibit archetypical behavior

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Settling in on just thirteen episodes under Netflix's originals program, Orange is the New Black is a show that is well worth watching. However the real value of this shows is the pay off as characters develop and as you further delve onto the catalog of characters and story lines that Kohan conveys to the audience. 

Walking Dead Season 1 Review

Apocalyptic Amorality: Walking Dead Season 1 Review

(Contains Minor Spoilers)

June 12,  2013

Society has fallen into cataclysm. Humanity falls into peril, and people rise from the dead. These are essentially the core tenets of any zombie apocalypse narrative. The Walking Dead, AMC’s new series based off Robert Kirkman’s graphic novel, which bears the same title, is no exception to these conventions nor does it to deny them. However unlike recent portrayals of this subgenre in pop culture that focus on the exposition of gore, series creator Frank Darabont, director of Shawshank Redemption and producer of The Terminator, reimagines the genre with an ultimate aim to explore the human condition. How does one come to terms with the reality he or she faces, and overcome the anxiety that overwhelms him or her in an absurd world? Thus for a seemingly orthodox story, the Walking Dead elevates itself from the zombie-apocalypse genre by addressing the notions of morality and humanism in face of a grim reality. Though admittingly, like any other visual medium in entertainment the question comes to the acting, cinematography, and overall narrative the show presents to its audience. Does the show deliver on its promises and succeed on its own merits as a TV show.

For the most part The Walking Dead adheres to the realism it tries to convey in this gloomy and sullen world it depicts. Following the aftermath of a police shooting, Sheriff Deputy of King’s County, Georgia, Rick Grimes (Andrew Lincoln) wakes up in abandoned hospital unaware of the destruction that pervades his surroundings. His slow, discomposed, dialogue-free exploration of the abandoned hospital in which he wakes up emphasizes television’s development toward expressing a cinematic focus on fluid, atmospheric, and engrossed visual storytelling. Rick's terror at discovering a room full of zombies, rotting human corpses that surround the hospital grounds is tangible because it mounts in such a way that it gives you the illusion of a real-time event. The frame by frame shot of Rick’s disillusionment and consternation mirrors those of the intended audience, who together slowly come to understand the anarchy that has risen. Complementing the Rick’s imperceptions of his situation, is the cinematic lighting that the show presents, creating a blinding color palette of whiteness that permeates Rick’s surroundings and reflects the Rick’s unawareness of his situation. Darabont's desiccated world is remarkably lush and vivid, shot by cinematographer David Tattersall with a wide-angle lens camera encapturing the raw atmospheric world, and populated by gut-churning makeup designs by Greg Nicotero. Darabont has molded an entirely realized alternate reality, and makes it a cathartic experience for the audience.

Rick awakes in an abandoned hospital isolated from humanity and plagued with fear from the unknown that surrounds him.

           

Darabont’s focus on humanizing Rick delves into the question of retaining a code of ethics and morals in an infrastructure that has been long forgotten and apply them to a bleak reality. Following his revelation at the hospital, Rick Grimes immediately goes to his home only to find his wife Lori (Sarah Wayne Callis) and his son Carl (Chandler Riggs) are long gone. However this simple fact does not deter from Rick’s clear conscious to search for his family. He observes that his home has been scavenged for supplies; however he also notices that the family photo albums and portraits are gone. He ultimately comes to the understanding that his wife and child did indeed escape King’s County. Though it is not stated whether Lori and Carl were assailed as they ventured outside their home, Rick chooses to side with hope and optimism in favor of the pessimistic outlook on life that can arise from chaos that surrounds him. In essence he embodies the archetype set by his occupation; he views himself as an authority figure who attempts to reconstruct an orthodox viewpoint in face of an unorthodox situation. Darabont chooses to juxtapose Rick’s idealism to that of Shane Walsh (Jon Bernthal), Rick’s partner and best-friend, who is now living in the outskirts of Atlanta, Georgia with Lori and Carl. Being the last person to see Rick at the hospital before all hell broke loose, Shane tells Lori that Rick is dead, knowing that his chances of survival were at a modicum at best. Manipulating Lori and causing her to fall into infidelity Shane embodies the survivalist mentality; Shane chooses to live with the situation he is dealt with and fully recognizes that morality is not a factor in the zombie apocalypse but a detriment to one’s survival. In comparison Rick searches for what he once had, portraying the mindset of maintaining a sense of morality in spite of living in a world where amorality, such as stealing supplies and taking advantage of people, is a more favorable in this environment. This juxtaposition is visually produced through the actors presentations of these ambitions and the editors work on paralleling Shane and Ricks ideals through sequential shots of Rick’s struggle being followed up by Shane’s adjustment to the apocalypse. This contrast produces a cognitive dissonance of the means through which one goes to survive in this vivid yet opaque world that Darabont depicts.

After the pilot, Rick does come to find his family and Shane with a group of other survivors, who unlike Rick have become detached of their former lives and more focused on the present. Additionally, Darabont presents newcomers that were not present in the comic which create some deviations between the graphic novel and the television show. The group includes a Latino family known as the Morales’s family, an African American woman known as Jacqui (Jeryl Prescott), and a character that is known to the group as T-Dog (IronE Singleton). The show tries to further augment is presentation of realism by bringing a myriad of characters into the show, ultimately it proves to be a greater detriment than a benefit that it can build off of.

The faults of the show begin to project onto the overall narrative from the second episode, titled Guts. An ensemble cast of characters, which are nonexistent from the source material of Kirkman’s graphic novel The Walking Dead, are less human and more mechanical than the main cast. Whereas Rick and Shane present the physical and mental anguish that is exhibited against this fortuitous scenario, these supporting characters provide no real humanism to complement the pathos the show attempts to convey. Though it is avowed that the characters receive plenty of screen time, they receive minimal amounts of dialogue and a lack of development in comparison. The characters portray emotionally devoid mindset exemplified by their contributions towards the overall narrative: providing pedestrian information such as what they did before the apocalypse and fighting off casts of the undead horde that surround them only to be overshadowed by the main cast of The Walking Dead. At one instance the Morales family sporadically decides to leave from the main group, in order to search for distant relatives. However one should ponder if their presence was even necessary to begin with.

However that is not to fault Darabont’s deviations from the graphic novel. Among the other new characters, Merle's (Michael Rooker) brother Daryl (Norman Reedus) worked much better. Like Merle, Daryl is presented to the audience as a rash and loquacious simpleton, yet was presented with enough nuances to make his character believable and concrete. This is augmented by the dynamic acting of Norman Reedus, conveying Daryl’s deeply rooted anguish from the misfortunate situation he is put in; he struggles to find solace within the group he lives with and the mysterious unknown whereabouts of his brother, after Rick and several members of the group abandon him handcuffed to a ventilation pipe on the roof of a building.

Additionally what the audience gets to see from Darabont’s portrayal of Kirkman’s Walking Dead is a slight deviation from the apocalyptic genre all together. Traditionally in apocalyptic narratives, they is a tendency to stray away from context of how the apocalypse came to be, this includes Kirkman’s graphic novel, however Darabont chooses to allow the characters to question their fate; and they ultimately come to great realizations about themselves. As seen in the season finale titled TS-19, the Rick’s group arrives at the CDC, The Center for Disease Control, in search of a cure for deadly plague. Though the ultimate aim of the finale is to answer questions regarding the whereabouts on how the apocalypse came to be and whose fault it is, there is also a visitation from remnants of their past lives including beds, hot showers, and even cooked food. The characters derive enjoyment from such factors, creating an ironic contrast to the audience who lives with these objects on an everyday basis. Additionally we see Shane struggle to cope the acceptance that Lori is with Rick now, and the emotionally withdrawal he goes through. Contrasting again, what use to be and what is now reality. Darabont highlights an emotional purging through these objects that hold positive connotations to that of their dark, opaque, and perilous world creating an imbalance state. The survivors have scavenged for food and supplies, but now they can simply relax and relish from what is simply presented to them. A drunk Rick speaks to Doctor Edwin Jenner (Noah Emmerich), the doctor who allowed their group access to the CDC, stating his gratitude for the man that they would have died if they did not take them in. Rick’s anguish overshadows his optimism for a better future, but only through the lens of a drunkard is he able to realize the dreariness of his situation. Andrew Lincoln’s shambling and loss of words when speaking to Jennner, realizing that if his son and wife were dead, he would ultimately succumb to suicide is Darabont’s purest conveyance of existentialism; how can he find purpose from a world that is purposeless.

Ironically Edwin Jenner decides to let the survivors in and relish in what life once was, only to take it away through them by denying them the information that the CDC is running on a short power supply; once the power is cut off complete decontamination will occur, self-destructing the building that they are contained in. Jenner tells them that there is no cure, and that he has spent his life’s dedication to finding a cure including testing on his deceased wife, whose body was decontaminated. Losing his friends and family, anxiety and anguish have overcome Jenner’s psyche leaving him with the only viable option in face with such a situation, suicide. Jenner recalls that Rick told him, that they would have simply died outside, and that by staying inside the CDC they can keep the little humanity that they have left. In other words now they can die with a peaceful state of mind, rather than becoming dehumanized mentally or physically by becoming part of the undead horde that is the walking dead. Rick avows that he may have stated he would have died, but he chooses that he will take his chances and keep whatever part of is human till they the day dies. In essence Rick is the existentialist hero, who chooses to revolt against the forces that oppose him and becoming self-aware of his situation and propagating his own existence through his own means. Jenner hesitantly lets them go, telling them they will regret their decision to leave as Rick and the other survivors escape the CDC to find someplace that will bring them purpose. Only time will tell if Jenner was right to choosing suicide over hope, and if their search for purpose will ultimately lead to their demise, transforming them to morally devoid beings in the second season.

Rick and the survivors escape the CDC in search for a means to define their existence.

The first season of the Walking Dead expresses the psychological trauma one endures from waking up one day, only to find out everything that once was is now gone and that the reality that this individual faces is bleak. Sure there is a multitude of shots demonstrating the mutilation of the undead, but the Walking Dead goes beyond the gruesome exposition of violence to manifest a realistic portrayal of how characters would act in this dark yet, absurd world. Darabont questions whether humanism, the value of putting the utmost emphasis on humankind over all else, is viable in face of the zombie apocalypse and contrasts this notion with the ultimate physical representation of dehumanization, the undead. It can be viewed that due to the show’s short season with a six episode length that the faults of the show are more apparent than they should be. However this does not denote Darabont’s triumph of imagining this desolate, yet lush landscape of atmosphere and raw emotion produced through the actions of the characters within the show that is AMC’s The Walking Dead.