Any spinoff from a beloved long running series has much on its shoulders, a huge
undertaking
will be in store. Every detail will be scrutinized by critics and fans alike. Writing, acting, score, directing and everything in between, that includes the title sequence.
The Ones Who Live opens with a precursor scene each episode to set the stage for the story to ensue. After, the screen switches to a brilliant fiery explosion covering all that the eye can see. The instant imagery is followed by silhouettes of our lovers in a gaze captured after a farewell kiss in season eight episode one, ‘Mercy’. The couple lovingly stare into the other’s eyes conveying the fortitude of their love before reluctantly parting.
An injured wife who’s a warrior in her own right seeing her husband off before battle. The husband knows he has her confidence even though she wishes she could go with him. But her safety in this and all moments is most important to him. This minuscule moment is very telling of the journey we are about to witness in the epic love story of Rick and Michonne Grimes.
The opening credits aren’t as artistically pleasing as ones seen in another TWDU spinoff, Daryl Dixon, but they are gratifying, nonetheless. Operatic, woeful tones heighten with crescendos building passionate suspense. Flashes of remnants of the bridge aflame after Rick’s sacrifice take us back to the tearful day, we thought our hero had perished in season nine episode five. But knowing that Rick was taken by Jadis reminds us that there must be a monumental reason he has yet to return to his family.
The ominous black flag of the CRM whips in the air as a response to that long-asked question. Power producing wind turbines and a league of flying helicopters grant a glimpse at the capabilities this stealthy cooperative has established in the zombie apocalypse. References demonstrating how coming up against them will be a daunting task. Yet a flash to pensive Rick and comforting Michonne in an embrace tell that this is the team capable of taking them on.
A map of the United States as it’s been newly drafted displays the three communities of the alliance. Portland, Omaha and the Civic Republic’s clandestine location in Philadelphia. Rather shockingly, the nuclear symbol hovers above the region from another spin-off, Fear the Walking Dead. The CRP knows about the detention in Texas! Then numerous denotations of oil stations throughout the country explain how the CRM can fly copters at will. But most notably Omaha briefly appears with a magenta ring of destruction indicating a timeframe for the events we will witness.
Elevating the black CRM uniform to new heights we were once fretful of seeing him don, Rick Grimes unlocks a new level of sexiness. Mirroring the equally alluring Michonne sporting new maroon and tan leather gladiator style protective gear comes up along with her line of sight through her helmet. Centered between imagery that appeared during the main show’s finale episode. A surprise ending with Rick and Michonne at individual campfires scribing letters. Hers to their children, she’d placed in trusted family members’ hands to continue searching for their father. His to her, pledging his undying love and explaining what he’s been up against in his attempts to return to her and the only child he knows exists, Judith. We can only imagine what anguish he would feel knowing that his desire for another child had come true with a junior to his name, RJ.
Next, layouts of various locations within the CRP including the CRM base, the turbine farms, harvest facilities and ruins can be made out. An index on the left side may provide positions for the Health Welfare Complex, Research Facilities and other prominent sites but the glimpse is too blurry.
A sudden uplifting musical tone emerges at the rise of several flickering shots. A page from one of Rick’s letters is aptly followed by two helicopters flying over a sweeping mountain range. Then CRM infantry populaces are posed by ranking order. Michonne’s satchel where she’s been carrying Rick’s journal and photo etched phone sit to the side of his well-worn in boots. Silos, a CRM officer pointing a weapon, a lot of scientific experimental pods, a consignee’s culling weapon, and zombie herd are some of the images shown.
A top secret/elite clearance document is joined by a newspaper clipping from the Civic Republic Tribune stating a majority of CRC candidates are calling for oversight of the military. A smaller article speaks about protecting free debate at CRU, presumably the university in the republic. These pieces relay that some nefarious and controversial acts have been conducted that everyone’s not aligned with.
Later, Rick’s message in a bottle bobs in the water before a brief point of view from what one can only assume is a surgical team putting him under. Perhaps after his initial intake and subsequent procedure to repair the damage from the rebar and explosion. The now infamous etching of Michonne and Judith with Japanese messaging renews the drive this man has fought to hold onto for years.
The culminating shots inspire with Michonne and Rick’s determined stares leading to their handhold as they headed off to battle against the Saviors in season eight episode sixteen, ‘Wrath’. Danger could be perceived in regard to foes but instead reminds us that our duo is one to be reckoned with, especially when of the same accord. The aforementioned kiss in ‘Mercy’ harkens back to the epic romance in store for this tale.
A sliver of the walker filled bridge and its blast take us to the final sight where an evolving tease one should look out for appears. There the name of the show is presented, The Walking Dead: The Ones Who Live has only just begun but the opening credits provide tasty morsels for the diehard fan and TWDU novice alike. It speaks to the level of artistry we will witness in the six-episode series delivered to us by the ever talented Danai Gurira, Andrew Lincoln, Scott M. Gimple and all involved at AMC.
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