The Walking Dead: In defence of season 7 and why part A was actually perfectly plotted

The first batch of episodes sets the stage effectively for what's sure to be a spectacular showdown

Viewing ratings for The Walking Dead season seven have been down for the first time since season three - that's an irrefutable fact. Whether they deserve to be is another matter.

This season, the series has reshaped its format - as it's often done - in such a way that has alienated those watching on a weekly basis (season premiere 'The Day Will Come When You Won't Be' amassed 17 million compared with the midseason finale's 10.58). Showrunner Scott Gimple opted to hone the majority of each instalment in on a small set of characters based in differing locations which has inadvertantly seen fans cry 'bottle episode' (a term used to describe a cheaply-produced hour of television in an attempt to save money).

This series is no stranger to this shake-up - see: the latter half of season four when the group were split up en route to Terminus - but it's never been utilised for this long. Sure, it may see casual fans' interest wane (Rick, Michonne and Carol fans are unlikely to give a damn about what Tara and Heath have been up to) but let's make one thing clear: The Walking Dead is not being made for viewing ratings, but for the fans; the diehards who have stayed true from the very moment they watched Rick ride into Atlanta on a horse.

The season seven premiere arrived on a wave of dread, built up over six months, that was impossible to live up to. Only, it did. By dropping a traumatic, fraught and, sure, gratuitous episode, Gimple cemented the one thing the ensuing seven episodes needed hammering home - without being exploitative: Negan is a threat different to what's come before. Take your Gareths and your Governors - as Negan left the shell-shocked group sat among the brains of fallen friends Glenn and Abraham, these characters lives - without realising - had never been further apart. The format of season seven's first half supported this notion.

Granted, not all the episodes hit the right notes ('The Go-Getters' gets my vote as the weakest Walking Dead to date while 'Service' - relatively maligned upon airing - was an enthralling episode) but that's not to say others didn't. It could be argued that the writers have boldly deployed a tactic no TV show has done before (to such a degree, anyway): knowing its strength lies in the group's union, they've ripped them apart in a bid to make their eventual reunion more crucial (more on that below).

The Walking Dead, for all its success, has been plagued with criticism for rehashing its once-trusty formula: the group come across another, they turn out to be rabid murderers, Rick leads the charge in killing them all; repeat to fade). It seems many are unable to deal with it taking longer than three episodes to overcome a threat. It's time to give the writers a break.

Now, there'll be those who attribute their dislike of the season thus far to Jeffrey Dean Morgan, the actor tasked with filling the shoes of the Saviours' malevolent leader, Negan. Yet, the several actions we've seen him commit - the brutal killings of Glenn, Abraham and Spencer, his post-murder goading and perverted behaviour - are all present in the comic book source material. For those who struggle to look past the fact he's not a towering bulked monster, I urge you to take his Cheshire cat grin and frightening air of unpredictability as token that Morgan's doing better than most could.

But ultimately, perhaps the finest proof that the The Walking Dead part A has been a commendable piece of work is the midseason finale, a brilliant outing which showcased the old (an adventure in the form of Rick and Aaron's supply run and a showdown to rival season three's prison shocker) while daring to venture into brave new territories - ending this batch of morbid episodes on a note of hope rarely - if ever - conveyed in this series.

The final scene sees a reinvigorated Rick, Michonne, Carl, Rosita and Tara arrive at the Hilltop Colony where they reunite with Maggie, Sasha and a newly-escaped Daryl with the intention of sparking the rebellion against Negan. It's a powerful scene enhanced by fantastic performances from a cast who flourish when acting opposite one another and composer Bear McCreary's finest work yet.

However, it's the layout of the previous seven episodes that made this scene what it was. Would that hug between Rick and Daryl have been such a tearjerker had Daryl not been separated from the group and cooped up in a cell being tortured for the first half of the season? Would Rick's admission to Maggie that she was right - they do need to fight back - have made you fist-pump half as hard had he agreed with her back in the premiere? The answer is no and the scene consequently stands tall as one of the best in the series' seven-year history (it's certainly the most emotional). It's also it's most honest - whereas most happy moments shown in The Walking Dead are stripped away by a tragedy, this pivotal scene exists to shape its future - and without this run of episodes, it wouldn't have landed.

If you're one of the fans who've remained loyal to this series slap yourselves on the back - you've earned it - and from the looks of what's to come, you're certainly going to be happy you did.

The Walking Dead returns in the US on Sunday 12 February; it'll air in the UK the following evening at 9pm on FOX.