The episode opens with Daryl, Carol, and Antonio arriving just in time to kill two men who have suspended Roberto above a horde of walkers. Once rescued, Roberto gasps a confession—Justina was taken again. Carol’s repeated “Again?” doesn’t land—it detonates, blowing open the secrets Fede tried to bury. The truth unravels: Justina demanded Fede stop La Ofrenda, or she would tell everyone in Solaz del Mar that he cheated to keep her from being selected. Instead of protecting her, Fede sent her away. 

“Limbo” – THE WALKING DEAD DARYL DIXON, Eduardo Noriega as Antonio, Melissa McBride as Carol Peletier. Photo Credit: Carla Oset/AMC @2025 AMC Inc. All Rights Reserved

Daryl and Carol clash over whether to pursue El Alcazar’s convoy to retrieve Justina. Carol’s not at full strength, so Daryl rides off alone toward Barcelona, while Antonio and Carol escort Roberto to the folk healers—or “witches,” as Paz calls them. Fede suspects Carol and Antonio are lying about who hurt Roberto. He’s right. They’re covering for Daryl and buying time for Roberto to recover.

From the moment Roberto dangles above a sea of walkers, suspended in limbo between life and death, the symbolism is clear: this is the catalyst for Fede’s reckoning. His betrayal of Justina—choosing self-preservation over protection—sets the entire episode in motion. Though he’s not confronted directly, the lies told and the consequences unfolding around him mark him as a man already judged.

Spaghetti Western, Anyone?

Then the episode shifts hard. “Limbo” becomes a dust-swept, morally charged triumph—an episode that finally delivers on the promise of mythic storytelling with a spaghetti Western soul, as Daryl, now in the high desert, becomes the lone anti-hero.

The showrunner nails the Western homage: Daryl in a filthy poncho, his silence punctuated by motorcycle engines, gunfire, and groaning walkers. Close-ups of his eyes above a bandana mirror the bandit’s gaze. Long camera shots of a walker-powered train and Daryl riding alone into Spain’s mist evoke Sergio Leone-level grandeur.

“Limbo” – THE WALKING DEAD DARYL DIXON, Pictured: Norman Reedus as Daryl Dixon. Photo Credit: Carla Oset/AMC @2025 AMC Inc. All Rights Reserved

The violence is stylized but coherent—finally. Daryl meets a man with gouged eyes begging for water. He gives it to him. The man drinks greedily, then laughs: “The bone crushers (vultures) are coming.” The vultures echo Jadis’s scavenger gang. They too were watchers. Jadis said of them: “We take. We do not bother.” The scavengers and vultures exist at the edges—watching, waiting, calculating. They don’t cause death; they arrive after. Metaphorically, they are the sentence, not the verdict.

Daryl finds sanctuary among Mateo and the Lepers—people living in limbo, not quite dead, not quite alive. He’s given water, then immediately asks for more—a brilliant echo of the earlier scene with the man with no eyes. It is at this moment that Daryl learns that the town’s water was stolen by the same bandits who took his bike. The community can survive for four more days…unless Daryl chooses to help. 

“Limbo” – THE WALKING DEAD DARYL DIXON, Luis Bondia as Mateo. Photo Credit: Carla Oset/AMC @2025 AMC Inc. All Rights Reserved

Rosa, the child who watches Daryl at night, becomes the episode’s emotional compass. Her gaze forces him to act. Mateo believes in Daryl; Amaia doesn’t. Amaia lives among the lepers, and her moral authority is unshakable. But she has doubts, saying: “I think you leave us to die,” as she tosses Daryl the car keys. Her doubt reverberates.

Daryl studies an old map. Is he planning his escape to Barcelona or the leper community’s salvation? Time passes. Tension builds. Then Daryl leads the bandits into town for one of the season’s most thrilling sequences. Rosa marks each shot in the dirt—her counting becomes a ticking clock. The juxtaposition of childlike innocence and deadly precision is narratively rich.

“Limbo” – THE WALKING DEAD DARYL DIXON, Pictured: Nansi Nsue as Amaia. Photo Credit: Carla Oset/AMC @2025 AMC Inc. All Rights Reserved

Reckoning and Redemption

The final duel is pure Western catharsis. Daryl stands ramrod straight as the bandit screams—racing toward him on a bike. The wide shot of the bandit’s death is satisfying, though I half-hoped for a decapitation. Still, Daryl is the last man standing.

Production-wise, “Limbo” is off the charts. Walkers pulling a train? A grotesque, surreal metaphor worthy of Leone. The train fight? Brutal, human, and refreshingly grounded. Both men pausing mid-combat to catch their breath—finally, realism in genre TV.

“Limbo” – THE WALKING DEAD DARYL DIXON, India Soria as Rosa. Photo Credit: Carla Oset/AMC@2025 AMC Inc. All Rights Reserved

Narratively, the episode is tight: a clear arc, emotional stakes, and two reprisals that deepen the story. Daryl’s allegiance to Justina and the lepers doesn’t ask for applause. It’s the kind of clarity that surfaces when justice outweighs comfort—the same moral instinct that made Rick and Morgan unforgettable in the pilot, now honed by communal stakes and desert grit.

Not Everything Lands—and Yet… 

The budding relationship between Carol and Antonio lands awkwardly. Carol inviting Antonio to Ohio feels wildly premature, especially in an episode otherwise grounded in grit and restraint. And Carol’s line to Valentina—“Has anyone told you that you’re a horny old woman?”—was a tonal misfire. It undercut the episode’s emotional weight with unnecessary cringe. The show doesn’t need forced flirtation or cheap laughs when it’s already operating at mythic scale.

“Limbo” – THE WALKING DEAD DARYL DIXON, Melissa McBride as Carol Peletier. Photo Credit: Carla Oset/AMC @2025 AMC Inc. All Rights Reserved

And yet, “Limbo” isn’t simply good television. It’s cinematic mythmaking. The viewers’ cup runneth over.

Did “Limbo” finally deliver the mythic tone this season has been reaching for? Do you think anyone from Solaz del Mar will be on that boat back to America with Carol and Daryl? Let me know in the comments.

Overall Rating: 10/10