ONTD

Earlier this week, there was a recap posted on Grantland about the latest episode of The Walking Dead, which made some great overall points about the show and its underselling of their own characters, and also touched on a very disturbing trend happening with most of our currently critically beloved shows – the absolute hatred most fandoms seem to have for the wives in them:


(btw, I shouldn’t have to point out how SPOILERY this is, since, like I already mentioned, it’s a recap of the latest episode – but still, just for good measure: Spoilers ahead.)

(…) As befits a character always treated as second-class, T-Dog’s dismemberment was overshadowed by a much more outrageous death last night. And the fact that it’s taken me 900 words just to get to the part of the episode that everyone is talking about reveals my ambivalence. To recap: In an act of perfect TV karma, Lori goes into labor while on the run from a swarm of walkers. In the relative peace and lack of hygiene of a boiler room, she realizes “something is wrong” and insists that Maggie cut the baby out of her, likely ending her life. With a level of uterine gore not seen since Prometheus and a dash of Oedipal agony unimaginable even by Sophocles, this is precisely what happens.

Now, in the short view, there is a part of me that admires the unblinking savagery of Mazzara’s vision. As appalling as everything that happened in the boiler room was, it certainly was consistent with the miserable universe The Walking Dead has created, a place where tough choices are inevitable, pain is unavoidable, and life — particularly young life — is to be protected at any cost. All actresses, inevitably, are asked to perform an agonizing birth scene at least once in their careers, and Sarah Wayne Callies was excellent here. For once, her innate fierceness was used for something other than accusatory snark; in her wide-eyed and desperate good-bye to her son, there was a hint of the ferocious and protective warrior/mother the character could have become with better development and more thoughtful scripts.

As quick as I’ve been to label Lori Grimes one of the worst protagonists on television, the intensity of fan hatred has continually given me pause. There’s a depressing undercurrent of misogyny to a lot of the reaction toward TV wives these days, from Skyler White to Cat Stark. It’s something I’ve been guilty of harping on as much as anyone. But a large part of the blame rests in the writing, the perpetual creation of an impossible dynamic wherein the cool husband wants to do fun and/or violent stuff and the snippy wife is always trying to harsh his mellow. As a TV fan, I wasn’t unhappy to see Lori Grimes go. And the atrocity of it all brought out the best in the normally wooden Andrew Lincoln and certainly made the burden on young Chandler Riggs — who, thus far as an actor, has proven to be all hat and no cattle — even greater. But the exact way she went out was an even greater bummer than the irritating scold the character had become.

Lori’s final words to Carl, before sacrificing herself in front of his young eyes, sounded to me like an unnecessary apology, not a loving good-bye. “It’s so easy to do the wrong thing in this world,” she moaned. “If it feels wrong, don’t do it. If it feels easy, don’t do it.” What she was referring to, of course, was her utterly reasonable decision to bed down with Shane, a trusted and caring family friend, amid the looming horror of the end of the world. Her ongoing guilt and suffering for this is and has always been outrageous; surely a reality in which burying a machete into a man’s widow’s peak is a heroic act can forgive a little post-traumatic nookie. There’s a difference between the admirably unforgiving worldview Mazzara is trumpeting elsewhere and downright cruelty. There were plenty of reasons for Lori Grimes to die; it’s a shame that her capital offense turned out to be the simple act of being alive.