In this penultimate episode of Season One, we pick up in the woods—where Megan (Wrenn Schmidt) is busy picking up the shattered glass from her recent “therapy session.”
Her initial destruction may have been a bloodless alternative, but in the aftermath of the recent revelations—husband Mark’s (David Denman) police brutality against Douchebag Donny and subsequent suspension from the force, the ensuing blackmail and fracturing of their family—is it any surprise when she inflicts some physical pain on herself to manage the emotional?
Boy, I sure hope that blood and broken glass doesn't become a motif for this episode…
Meanwhile, Ogden (Pete Burris) and Kat (Debra Christofferson) are getting the hell out of Dodge. Unsurprising, given Anderson's attack and the fact that if Kyle (Patrick Fugit) changes his mind, Kat's dark passenger could be evicted at any moment.
Now that he's lost his position in the community, Anderson (Philip Glenister) finds himself homeless and at loose ends—but that may not last for long, because Patricia (Melinda McGraw) wants him to move in with her.
She also has some advice: “Get your shit together.”
Not a bad idea at all.
Kat and Ogden haven't gotten very far down the road before Evil Data/Sidney (Brent Spiner) tracks them down. Seems Kat leaving town with her hubby wasn't part of the “plan,” and the leader of the dark congregation has a new “job” for her.
…That's not ominous or worrying at all.
Anderson's attempt to speak his piece to the deacons of his erstwhile church does NOT go well: instead of getting his job back, the Reverend succeeds in only further alienating his former congregation when Sidney makes an appearance and thoroughly gets his goat.
The end result is Sidney bleeding on the floor and Anderson kicking him while he's down. Of course, that victory is woefully short lived, because Sidney is done playing the benevolent forgiver and insists on pressing charges when Chief Giles (Reg E. Cathey) arrives.
It really was only a matter of time before the good Reverend ended up in handcuffs.
Given his past track record and the still-active restraining order, Kyle seeks out his brother-in-law to go with him when he heads home, hopeful that wayward wife Allison (Kate Lyn Sheil) will be there.
It's nice to see that Mark has finally gotten over his distrust and anger with Kyle and come around to believing him/believing in his goodness. He also comes home to some good news: Megan's pregnant, and while she initially despairs over the news, he assures her this is a good development. A clean slate of sorts.
(If anyone in this accursed town can ever get a clean slate, that is.)
Giles turns Anderson loose, which I'm sure will have repercussions for him in terms of his future job security—Evil Data/Sidney was awfully firm about his desire to press charges, and there was a whole crowd of witnesses.
The Ogdens divert from their original plan to flee and instead set up shop in what looks like mannequin hell, the next step in their new “plan,” which is sure to be traumatizing given Ogden's reticence. Plus, given the setting, of course.
(Why is it always mannequins??? That Uncanny Valley crap is right up there with cymbal monkeys and those blinking dolls with weighted eyelids: never a good idea. UGH.)
After a run-in with his mother-in-law, Kyle heads to the hospital where Allison has checked herself in. The receptionist isn't too thrilled with the idea of letting him visit—but our hero's heartfelt plea manages to strike a chord:
KYLE: Ma'am, I broke into my own house today, convinced I was gonna find the love of my life hanging from the end of a rope, and afraid of how I was gonna explain that to our little girl. If there was ever a time to break the rules, this is it.
A pass from the receptionist isn't enough, however, because Allison stands firm on her decision to remain locked up, convinced that Kyle has to raise Amber alone now. Because, our poor boy just cannot get a break or be happy for more than an hour at a time.
When Kyle Barnes cries, I cry.
“If anyone deserves a happy ending to their story, it's you,” says Megan when he calls to check in. An assessment I wholeheartedly agree with. Too bad Kirkman delights in causing his characters—and us—unending amounts of pain. Oof.
While Kyle is trying to turn Amber's room at his house into a more permanent, homey affair, Anderson lurks outside Evil Data/Sidney's place and sees Patricia's son there. Which segues straight into a near-physical confrontation that makes Patricia order Anderson out of her home and life.
“My dad used to beat me up pretty bad. Mom, too,” Aaron (C.J. Hoff) gloats as Anderson leaves. “Guess that's the end of you.”
The little shit planned the whole confrontation. Look at how unsurprised I am.
Also unsurprising, but no less terrible: Megan's calm evening shower ends in possession, smashed glass, and Mark bleeding to death on the floor. Followed by a phone call Kyle never wanted to get:
AMBER: It's Aunt Megan! She's sick like Mommy!
Cue terrified screaming, utter panic on both sides of the phone, and a downright evil cliffhanger for the audience.
Kirkman, you asshole.
Angie Barry wrote her thesis on the socio-political commentary in zombie films. Meeting George Romero is high on her bucket list, and she has spent hours putting together her zombie apocalypse survival plan. She also writes horror and fantasy in her spare time, and watches far too much Doctor Who. Come find the angie bee at Tumblr.