(SPOILERS) Inside Episode 313 The Walking Dead: Arrow on the Doorpost
This episode was probably among my least favorite of The Walking Dead season 3 offerings in the back half. That’s why Norman Reedus is just above: A bit of Daryl’s alter ego is a fast path to a pick me up (plus this scene had built in humor with the taking of cigarettes off a zombie corpse!).
My problem with episode 3.13? Way too much staring down of one another by Rick and the Governor.
Yes, it’s true, they probably do pretty much have all the time in the world to have had their mutual evaluation encounter.
But the writers weren’t really doing character development, per se, as is the usual explanation for an episode with little heft. This episode wanted us to know that Rick is not losing his shit to any scary degree, ATM. It was about the Governor displaying to everyone that he is not only evil but probably batshit as well, though a cunning kind of batshit.
We wanted to see, nay needed to see the beginning of Andrea supplicating herself for her terrible judgment in picking boyfriends and especially, for tossing over her girlfriend in order to go out with/not be killed by, said boyfriend. It’s all a bit twisted but that’s what we like about it. And maybe that’s what I missed in episode 3.13: It needed more twist.
Rick and the Governor finally meet face-to-face and square off in a thrilling verbal chess match in Episode 313.
Episode 313 On-Air Highlights: Talking Dead VIDEO
(SPOILERS) The Making of Episode 313 Arrow on the Doorpost: Inside The Walking Dead (VIDEO)
Go behind the scenes as Daryl, Andrea and Martinez compete to see who can take out the most walkers in Episode 313.
After the jump:
‘The Walking Dead’ Episode 3.13: Arrow on the Doorpost Recap
‘The Walking Dead’ Episode 3.13: Arrow on the Doorpost Recap
Rick enters an abandoned feed store while Daryl and Hershel stand guard outside. The Governor steps out of the shadows. “We have a lot to talk about,” he says.
The Governor removes his weapon and sits at a table, inviting Rick to do the same. Rick holsters, but stays standing. Taped under the table on the Governor’s side is a gun.
Milton, Andrea and Martinez arrive. Andrea realizes the meeting has started without her. She strides inside and tries to mediate, but Rick and the Governor ignore her. “I heard about the raids,” Rick says, glaring at the Governor. “The heads. Maggie.”
Outside, Milton introduces himself as the Governor’s “adviser.” Daryl and Martinez eye each other aggressively.
At the prison, Glenn gives orders to fortify their position. Merle suggests they ambush the Governor, but Glenn shuts it down, not wanting to risk putting Rick, Daryl and Hershel in the crossfire.
Back at the feed store, Rick hands the Governor a map. “Woodbury takes west of the river, prison takes east,” he proposes. The Governor laughs at Rick’s proposal and demands his surrender. Andrea tries to calm them down but the Governor kicks her out.
Rick challenges the Governor’s leadership: “You’re the town drunk who knocked over my fence and ripped up my yard,” he says. The Governor asks if Rick ever misjudged someone, referencing Judith’s unknown paternity and accusing Rick of “failing to see the devil beside you.”
Outside, Milton scribbles in a notebook, explaining he’s making a record of events post-apocalypse. A small herd of walkers approaches. Daryl, Andrea and Martinez take turns killing them, flaunting their combat skills.
Afterwards Daryl and Martinez share cigarettes taken from a walker’s pocket. Martinez calls the Governor’s meeting a joke. “They’ll do their little dance,” he says, but eventually “they’ll give the word.”
Milton and Hershel bond as well, as Milton questions Hershel about how he staved off walker infection by amputating his leg.
Meanwhile, the Governor explains that he’ll look weak if he leaves Rick’s group alone. “That’s your problem,” Rick says. The Governor then shares a story about the day his wife died in a car crash. She had left a message asking him to call her back. “I sat there clutching that phone thinking, what did she want?” the Governor says, smirking as Rick becomes visibly rattled.
At the prison, Merle packs a duffel bag full of guns and announces his plan to kill the Governor. “This guy cops a feel of your woman and you pussy out like this?” Merle asks when Glenn tries to stop him. The two brawl.
Andrea privately asks Hershel what the Governor did to Maggie. “He’s a sick man,” Hershel replies. Andrea despairs and says she can’t go back to Woodbury. Hershel agrees that she belongs at the prison. “But if you join us, it’s settled,” he warns.
The Governor tells Rick that between the size of his army and the combat readiness of Rick’s group, the fight between Woodbury and the prison will come down to the last man. Then he offers Rick a deal: “I want Michonne,” he says. “Turn her over and this all goes away.”
At the prison, Merle tries to enlist Michonne on his assassination mission. Michonne hears him out but declines.
Maggie joins Glenn on the loading dock. He apologizes for his recent behavior and they dash inside to make love.
Meanwhile, Rick asks the Governor why he’d waste time on a personal vendetta, then wonders if he can even trust the Governor to honor his end of the deal. The Governor gives Rick two days to decide.
Then the Governor, Milton and Martinez get in their truck to leave. Andrea joins them.
Back in Woodbury, the Governor gives instructions to surround the feed store and kill everyone except Michonne when the time comes. “What about the deal?” Milton asks. “We’re going to have to eliminate Rick sooner or later,” the Governor reasons. “No way we can all live side by side.”
Rick’s group returns to the prison, where Rick debriefs everyone: “He wants us dead, for what we did to Woodbury,” he says. “We’re going to war.”
Rick privately tells Hershel about the Governor’s offer, explaining he lied to the others so they’d be scared enough to accept it. “She’s earned her place,” Hershel says of Michonne. Rick asks if Hershel would sacrifice his daughters’ lives for Michonne’s.
“Why are you telling me?” Hershel asks. “Because I’m hoping you can talk me out of it,” Rick replies.
Actress Lauren Cohan, who plays Maggie Greene on AMC’s The Walking Dead, talks about her big make-out scene with Glenn in Episode 13 and her philosophy on love in the apocalypse.
Q: It’s been a challenging season for Maggie. Has that affected you personally as well?
A: It’s stressed me out a little bit, but I feel the writers are writing to my emotional self. I’m very good at being emotional like that. That’s something they’ve probably recognized and written to, so it’s been a very rewarding season for me. Fun is not something you think of when talking about the apocalypse, but it really has been enjoyable. If somebody is going through emotional gut-wrenching material, it’s pretty serious. But if we have time and if we have to jump off a car and slash somebody’s head open, we do have fun with that.
Q: Maggie has many roles on the show, “lover” and “daughter” foremost among them. Which do you favor?
A: As much as I love the romance between Maggie and Glenn, I just really love seeing the father-daughter relationship done right on-screen. Maybe it’s because I have two dads, I don’t know — my mother remarried when I was about 7; my biological dad and I are very close and my step-dad and I are very close. My moral dilemma is always which one is going to walk me down the aisle, when the day comes.
Q: You recently tweeted about the differences between British and American actors. What are some of the differences between these two camps on set?
A: I don’t really see that distinction between England or America on set. Andy [Lincoln] speaks with an American accent all the time, David Morrissey speaks with an American accent all the time, and we’re all a bit method when we’re out there. The only surreal part of it for me is seeing everyone on the weekends: Andy wears glasses and speaks like an English person.
Q: You have a pretty intense sex scene with Glenn in Episode 13. Were you nervous at all about shooting that?
A: No, because I really trust the crew. At the end of the day what’s on camera is there forever, and I don’t want it to look fake or self-conscious. There’s also only so much that people can show on cable, but we wanted to do justice to this couple in love. They have this stubborn argument that has lasted for days and weeks and it was this healing moment. I think it’s a beautiful scene. (CONT.)