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Like much of season four, "Live Bait" favors character development over action, although its deliberate pace may test the patience of some viewers.
The Governor is back! And for those of us who'd grown a tad weary of the West Georgia Correctional Facility follies, El Guv strode through last night's episode like our own one-eyed savior, providing a radical change of pace.
We were captivated for the whole hour, but we really don't want much more of this direction in the story.
It will take another week to discover if this midseason diversion pays out any real dividends, but given the structure of 'Walking Dead' seasons, that only leaves a solitary episode to set any kind of stage for the second half of season 4.
While "Live Bait" was a well acted and well directed episode of television, I can't help but feel like it just muddied the waters.
It was a dazzling opening and a bold, artistic step forward for a series that once closed a hatchback car door on a zombie and featured Rick talking into a phone that wasn't plugged in...But then the rest of the episode happened.
This episode offered a new layer to what was already one of the more dimensional characters on The Walking Dead, though a somewhat controversial one.
This is a great way of giving The Walking Dead a "Rise of the Governor"-type arc while also making it entirely new and fresh. So bravo, Scott Gimple. Good work.
Parts of the Governor's tale worked, but overall, it was a bit slow and one note.
Apart from being the first episode of the series not to feature a major cast member, "Live Bait" is notable for its uniquely lived-in quality
When the new, somewhat happy family left the apartment building, the momentum change was apparent almost immediately, even if the travel scenes felt a bit tossed together.
Tonight on The Walking Dead, the villain who makes JR Ewing look like a Boy Scout returned, but not exactly as you might expect.
"Live Bait" wasn't a particularly exciting episode of The Walking Dead, nor an especially subtle one in the way it beat us over the head with the parallels between the Governor's dead little girl and the live one standing in front of him.