Think about it: If people earn trust in a post-outbreak world by helping each other cope with their problems then the scene that should really earn Nick’s place in Lucia’s heart is one we don’t see, the one where he shows her that he’s willing to swallow his pride and get to work for the Colonia.īut that’s not the kind of relationship Nick and Lucia have. We see Nick eat crow and show deference to a bunch of gangsters, and that omission detracts from the episode. Nick’s friendship with Lucia is a little harder to believe, especially since we don’t see him earning her trust. But if he had an empty trailer, why would he need to kick Nick out? Their interactions may not be substantial, but each one is leagues more interesting than the staunch speeches and vague mysticism that previously defined their relationship.
Note the way that Alejandro presents Nick’s trailer: He says that he’s kicking Nick out of the infirmary because he needs the bed. He takes a shine to him, though he doesn’t show it. I don’t know if Alejandro would have given Nick his own place if it weren’t for the leeway that he earns tonight.
For Alejandro, this is “surviving,” a vital skill that is nevertheless not worth celebrating. Then again, what really pushes Nick over the top is his knack for, in his own words, “eating shit.” Nick toes the line, and even addresses a bunch of drug lords with deference (“I even called him ’ señor!’”). By working side-by-side with Alejandro, Nick earns the Colonia leader’s trust. He jokes that he doesn’t pay for overtime, but I suspect he would have lost some respect for Nick if he weren’t able to keep up. Alejandro looks at Nick hesitantly, but with respect. Take, for example, Nick’s story line: He problem-solves his way into Alejandro’s good graces by cutting Oxycontin pills with powdered milk, thereby increasing the supply of drugs they can barter for water. There is, in other words, a transactional value placed on relationships. It’s not enough for characters to say that they care for each other they prove the strength of their love by helping the people whom they care about. Once Madison’s group meets up with Alicia, the episode presents a weirdly pragmatic, sometimes utilitarian notion of romance, friendship, and love. Reconciliation is tonight’s thematic hook, a conceit driven home by a cold opening that shows us the end of last episode from Victor and Madison’s point of view.
In addition to this track, fans can also look for more singles from Andadel, whose tracks 'Carver' and 'In the Water' are also available separately on their page at .įans looking for additional tracks from The Walking Dead: Season Two can look forward to the full soundtrack releasing later this year after the season concludes.“Pablo & Jessica” feels loose in ways that few Fear the Walking Dead episodes do.
Heard during the credits to the critically-acclaimed Episode Two, 'A House Divided,' the track is currently free to download at. Together, Jared and Janel recorded their take on the classic traditional American folk song, 'In the Pines,' which dates back to the 1870's and is believed to be of Southern Appalachian origin. Today we would also like to share a very special track arranged by long-time composer for Telltale Games, Jared Emerson-Johnson, with vocals supplied by the multi-talented Janel Drewis, who also works as an animator on the development team at Telltale.