AMC’s The Walking Dead
Season 7, Episode 6: “Swear”
Directed by Michael E. Satrazemis
Written by David Leslie Johnson

* For a review of the previous episode, “Go Getters” – click here
* For a review of the next episode, “Sing Me a Song” – click here
On the beach two girls find Tara (Alanna Masterson) washed shore, still alive and not infected. One of the girls nearly kills her, but the older one decides they won’t kill her, not if she isn’t sick. They won’t tell their community about it, or at least the older of the two won’t. At least there are still some good people left in the new world. Sad to see the youngest are already becoming desensitised to living in the post-zombie apocalypse. Although, lucky for Tara one of them was willing to do the right.
Some time before, Heath (Corey Hawkins) and Tara survive on their own. They’re losing hope about what’s next. No gas, barely any food. Heath laments what happened at the station, when they killed those Saviors. All over food and rations. Now with Hilltop and the deal with the Saviors things are supposed to be… tolerable. However, that isn’t enough for everybody. All Heath knows is that to be honest to themselves, they’ve got to admit who they are: killers beneath it all.
Tara’s personal saviour, Cyndie (Sydney Park), tries keeping her presence secret. She leaves a passed out Tara some water, a little food, along with a spear to defend herself. When the poor girl finally wakesup she doesn’t know whether Cyndie’s there to help. So she remains sceptical. Out into the woods Tara goes, following Cyndie back to her community. The place is full of people, and firepower. Suddenly everyone rushes at the sound of a whistle, or a horn, or something. Guns are handed out to everyone. The community’s on high alert. Then the bullets start flying, as Tara runs for her life. She gets the jump on one woman, but the young girl who wanted to kill her earlier stops Tara, gun pointed. Once more Cyndie stops it, although the rest of the community – all women notably – hold their weapons on Tara. “Look, Im cool,” she tells the group. She tries talking to them, even if the place looks on edge. Who knows what’ll happen next.
Back when Tara was with Heath, they come across a bridge, old cars, tents, tarps, you name it scattered everywhere. Lots of “blind spots,” as Heath points out. They go ahead, slow, steady. They find a load of sand dumped on the bridge, covering a ton of bullet casings. When they try sifting through, one wrong pull sends the sand down on top of them, and a load of walkers crawl out from underneath. In the crowd of zombies Heath leaves Tara to fend for herself; no, you fucking didn’t, Heath!!!!! Oh, man. That is raw.

Tara’s now handcuffed to a radiator in the head honcho Natania’s little house. She learns more about the place. They have lots of security measures. Natania wants to know about Tara. She talks a big load of shit about working on a fishing boat before, she and a friend. Smart move, girl. But the community isn’t pleased with strangers wandering in. Regardless, Tara gets an invite to the dinner table for fish stew. Things go normally, and later Natania extends another invite: for Tara to stay with them. Somewhere she can “put down roots” and be a part of their community. We again find out more about the community, that they were in a fight with another group, which left them decimated, and without any of the men who were a part of the group prior. True survivors, hiding and fending for themselves, alive, healthy, together. They trust Tara because she’s had the opportunity to hurt them and chose not to do so. She then opens up to them about her own community in Alexandria, her girlfriend, their way of living. She tells them about killing the people at the station, hoping their groups can work together. “Sooner or later youre gonna need a friend.” Natania proposes sending a guide, to help Tara find Heath, then go to Alexandria and scope out their community for safety.
They head out through the woods. When a zombie needs killing Tara offers to get it done, taking her chance to run from her guides. She fights one of the women when they cross one another. She lands on the other side of a gun, again. The woman says that The Saviors can’t be stopped, there’s no point in going home. They are everywhere, they kill everything and everyone. They’re the ones that killed this community’s men; “every man, every boy over ten, they lined them up, shot them in the head.” Those women ran from Negan and The Saviors and they’re not willing to let Tara ruin any of that. Cyndie manages to help Tara get free, and follows her away. She pleads with Tara not to tell anyone where they are out in the woods, giving her rations for the trip home. On the bridge there are tons of walkers, though. Cyndie helps Tara to get around them, providing gunfire from a car nearby as Tara runs right through the crowd. She makes it to the other side of the zombie wall eventually.

Cut back to when Heath left her on the bridge. Or did he? Nope. He comes back with a gunshot, but Tara’s forced to jump off the bridge to save herself. Now there she stands at the bridge, not sure where Heath might’ve gone. For a second she thinks he’s there on the bridge; only a lady walker with similarly braided, tied up hair. Phew. A little farther off the bridge, Tara finds Heath’s glasses, a swipe card with PPP written on it, and tire tracks.

Out in a field she heads forward, anywhere else. She happens upon a store and some houses, an overturned boat. She keeps moving on back towards home. At the walls of Alexandria, Eugene (Josh McDermitt) sees her coming, happy as can be. But she hasn’t been back in awhile. She doesn’t know about the latest deaths, Denise, all the horror. Rosita (Christian Serratos) asks her about where she was, what happened, and true to her word Tara says she saw nothing.

This was a slower episode, but a good one. I love Tara, and Heath. They got a bit of good screentime, which I hope continues. I’m also itching to get back to Rick and Negan, too.
Next up is “Sing Me a Song” and I’m willing to bet things are going to get nasty.


I'm a Bachelor of Arts (Hons.) graduate & a Master's student with a concentration in pre-19th century literature. Although I've studied everything from Medieval literature onward, I've also spent an extensive time studying post-modern critical theory and have a large interest in both Marshall McLuhan and Jean Baudrillard. I completed my Honours thesis on John Milton's Paradise Lost + the communal aspects of its conception, writing, and its later printing/publication. My thesis will serve as the basis for a book about Milton's authorship and his influence on pop culture (that continues to this day). My Master's program involves a Creative Thesis, which will be a full-length, semi-autobiographical novel. Author Lisa Moore is supervising the writing of this thesis. I'm also a writer and a freelance editor. My short stories have been printed in Canada and the U.S. I edited Newfoundland author Earl B. Pilgrim's latest novel The Adventures of Ernest Doane Volume I. Aside from that I have a short screenplay titled "New Woman" that went into post-production in early 2018. I was part of a pilot episode for "The Ship" on CBC; I told a non-fiction story of mine about my own addiction/alcoholism live for an audience with nine other storytellers. Meanwhile, I'm writing more screenplays, working on editing a couple novels I've finished, and running this website/writing all of its content. I used to write for Film Inquiry frequently during 2016-17. Contact me at or hit me up on Twitter (@fathergore) if you want to chat, collaborate, or have any questions for me. I'm also on Facebook at Cheers!

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