Shows I used to watch (some I still watch, thanks to netflix) were frequently on for a number of years. I enjoy that longevity.
I don't know if that was due to the system of selection back then or the difficulties of development, but I heard frequently in discussions that many very long-running shows didn't hit their stride until a couple seasons in.
In a similar vein, Walker hit its stride last year and continues on at full pace now.
It makes sense: seasons one and two being during covid lockdowns, the Texas freak snowstorm, various cast accidents and "life" events too varied to mention.
So at last we are here. Walker has leveled up from "very good" to "excellent," especially on a fourth network level budget.
I've always loved the show, but I can say it's even better now.
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However, reflecting, it might have those trials by fire that forged the very foundational relationships the writers can now play with, using such ease.
I cheered seeing characters noticing Walker's hyperfixation on the Jackal case. It's a bit late, of course. They tried to sidestep the issue and self-deceive, accept he was "Fine"
Now, we see his social network and we begin to trust them again. We actively want to trust them, because we have grown to know them all.
---
Bless Auggie (Kale Culley), in particular, who doesn't really come to the realization himself about his father but rather because he overhears a conversation. But he acts on it. To this Cordell responds.
Bless Liam (Keegan Allen) who comes in gentler this time, realizing he was too harsh the last. Little brother doing what he can about the big brother he both is aggravated by and yet adores.
Bless Trey (Jeff Pierre) and Larry (Coby Bell) for continuing to remind Cordell of limits and push with what impact they can have to pry him away from his behaviors.
PTSD is under the umbrella of acquired neurodivergence, so this isn't merely Cordell being "stubborn." And their approaches can't be the same as on someone merely acting so.
---
In a way, that's why I'm not going to be as harsh on Stella (Violet Brinson) as I feel like being. Yes, she uses her uncle's concern for her father's behavior. She manipulates. She lies to her brother. She fixates and doesn't stop to think.
However, I'm beginning to wonder if the writers--who compared Stella and Cordell a couple times--aren't trying to show she is going through the same issues as him. And that she deserves the same mental health advocacy, too.
Thus, I groaned at the screen several times, rolling my eyes at her not doing what common sense would indicate. Calling in the Rangers she knows so well. The lawyer. Her family.
But I sense the writers are being far more clever than the mere plotline here. That intercut edit of Cordi and Stella at the end was enlightening.
Making the viewers think? In this era of tv?
I can't wait to see more.
---
As to the plotline, it was a rouser.
We had action and suspense, an evil villainess played by the absolutely fabulous Sharon Lawrence.
We had romance, with Cassie (Ashley Reyes) and Luna (Justin Johnson Cortez) cute, sweet, and very hot.
Ben (Matt Pascua) and Liam were the established and reliable couple, a nice but not preaching way to add solid LGBT representation.
We had sentimental moments with mentions of Emily Walker (Gen Padalecki, never forgotten) and big time family feels.
An amazing scene between Cordell (Jared Padalecki) and his son which made me tear up in empathy to both.
---
However the absolute drop silent moment was the end scene with Cordell and Larry, where we get every bit of the weight Walker is feeling through Padalecki's performance.
His face showing more than mere words could convey.
What a master class from someone who's proven himself through two decades of work in tv.
---
We also continue to have the "Walker Style" of incredible needle drops, stunning edits, and locations that are veritable love letters to Austin.
I do so adore this show.
I don't know if that was due to the system of selection back then or the difficulties of development, but I heard frequently in discussions that many very long-running shows didn't hit their stride until a couple seasons in.
In a similar vein, Walker hit its stride last year and continues on at full pace now.
It makes sense: seasons one and two being during covid lockdowns, the Texas freak snowstorm, various cast accidents and "life" events too varied to mention.
So at last we are here. Walker has leveled up from "very good" to "excellent," especially on a fourth network level budget.
I've always loved the show, but I can say it's even better now.
---
However, reflecting, it might have those trials by fire that forged the very foundational relationships the writers can now play with, using such ease.
I cheered seeing characters noticing Walker's hyperfixation on the Jackal case. It's a bit late, of course. They tried to sidestep the issue and self-deceive, accept he was "Fine"
Now, we see his social network and we begin to trust them again. We actively want to trust them, because we have grown to know them all.
---
Bless Auggie (Kale Culley), in particular, who doesn't really come to the realization himself about his father but rather because he overhears a conversation. But he acts on it. To this Cordell responds.
Bless Liam (Keegan Allen) who comes in gentler this time, realizing he was too harsh the last. Little brother doing what he can about the big brother he both is aggravated by and yet adores.
Bless Trey (Jeff Pierre) and Larry (Coby Bell) for continuing to remind Cordell of limits and push with what impact they can have to pry him away from his behaviors.
PTSD is under the umbrella of acquired neurodivergence, so this isn't merely Cordell being "stubborn." And their approaches can't be the same as on someone merely acting so.
---
In a way, that's why I'm not going to be as harsh on Stella (Violet Brinson) as I feel like being. Yes, she uses her uncle's concern for her father's behavior. She manipulates. She lies to her brother. She fixates and doesn't stop to think.
However, I'm beginning to wonder if the writers--who compared Stella and Cordell a couple times--aren't trying to show she is going through the same issues as him. And that she deserves the same mental health advocacy, too.
Thus, I groaned at the screen several times, rolling my eyes at her not doing what common sense would indicate. Calling in the Rangers she knows so well. The lawyer. Her family.
But I sense the writers are being far more clever than the mere plotline here. That intercut edit of Cordi and Stella at the end was enlightening.
Making the viewers think? In this era of tv?
I can't wait to see more.
---
As to the plotline, it was a rouser.
We had action and suspense, an evil villainess played by the absolutely fabulous Sharon Lawrence.
We had romance, with Cassie (Ashley Reyes) and Luna (Justin Johnson Cortez) cute, sweet, and very hot.
Ben (Matt Pascua) and Liam were the established and reliable couple, a nice but not preaching way to add solid LGBT representation.
We had sentimental moments with mentions of Emily Walker (Gen Padalecki, never forgotten) and big time family feels.
An amazing scene between Cordell (Jared Padalecki) and his son which made me tear up in empathy to both.
---
However the absolute drop silent moment was the end scene with Cordell and Larry, where we get every bit of the weight Walker is feeling through Padalecki's performance.
His face showing more than mere words could convey.
What a master class from someone who's proven himself through two decades of work in tv.
---
We also continue to have the "Walker Style" of incredible needle drops, stunning edits, and locations that are veritable love letters to Austin.
I do so adore this show.
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