Mercy: Review for The Walking Dead 801 By R.C. Murphy
It’s a grandiose plan, that’s for sure. Armed to the teeth and prepared with steel-plated vehicles, a large militia formed from Hilltop, Alexandria, and Kingdom fighters begins the episode by running through the last gut checks and minutiae required to successfully survive the day ahead. The plan itself is pretty simple: Rick will convince the Savior sergeants to step aside and give them the head of the snake, or they’ll pin everyone in the building with gunfire and another teams will draw walkers to it to finish everyone off. Rick has an unreasonable moment when he once again fixates on personally murdering Negan himself instead of compromising on any method to contain this threat. Because that plan has worked so well any other time he’s tried it. The only difference is now Rick’s dragged two other communities into his vendetta in order to secure weapons since he got all his taken away.
Maggie and Ezekiel don’t seem all that put out with Rick and his whole scheme, which is weird because if I ran a community the last thing I’d do is let some guy drag me into a fight he keeps provoking. Yes, the Saviors are giant turds, but Rick is the one who set everything in motion by insisting he and he alone should lead the most ruthless group in a fifty mile radius. Honestly, this has gone on so long, I firmly believe they never should’ve stayed in Alexandria once the threats became too much. But this is someone else’s sand box and they want Rick to pull everyone into all-out war, so off they go after a hearty round of pep speeches from each leader. Before anyone points out that Maggie is not the official leader, she’s the only one other than Jesus looking out for those people at the moment and he doesn’t want the job, therefore Maggie is in charge. No one has a problem with it, either.
On that thought, it’s strange that Maggie’s pregnancy doesn’t progress in the least, but the show’s children all aged greatly during the hiatus. They’re insisting she participate in the war, or at least the first part of the plan at Sanctuary. That being said, the optics of sending an obviously pregnant woman into a fight is pretty sketchy and I can understand why they’d hold off a little longer on the great bumpining. As a Glenn fan, though, I just want proof he’s living on in some little way. The longer they put off actually acknowledging that their most successful woman is also a mother, the more frustrated I get. Maggie can be both at the same time, just let her be her whole self instead of treating her like Mrs. Potatohead, cherry-picking different traits to use each season/episode.
Seth Gilliam as Father Gabriel Stokes – The Walking Dead _ Season 8, Episode 1 – Photo Credit: Gene Page/AMC
For once, the battle plan goes more or less as intended. There’s no great triple-cross putting people in the middle of a trap. Rick amazingly keeps his calm until the end of the firefight when the bloodlust finally gets to him and he again fixates on being the soul responsible for wiping Negan off the map. The dialog is kinda laughable at points. It’s painfully obvious Rick is buying time so the secondary team can get the walkers in position and he fails to make a compelling argument against violence which just leads to a firefight. A firefight in which some of his best fighters are elsewhere. Remember, the real plan is to kill them with walkers and save the cavalry for cleaning up the rats who jumped ship before they closed in. The only snag in the plan comes at the end when they’re forced to flee or get trapped in the walker horde. Just about everyone makes it into a car. Then Gabriel goes back to grab Gregory—who threw in his hat with Negan, and then ran like a startled chicken when the fighting began, only to get pinned by gunfire in the walkers’ path. One of them makes it out of Sanctuary in an armored car. It isn’t the one we want to get away.
The stage is set to watch the fallout from this fight stretch across at least the first half of the season. They’ve got more Saviors to contend with, not to mention that snake still has its head and until Negan is out of the picture, Rick won’t rest.
The Walking Dead franchise draws big business for everyone involved. It only makes sense that game developers would scramble to snatch a piece of that pie. There’s a few TWD games already out in the world, namely the tension-ridden series from Telltale Games and it’s spin-offs, A New Frontier and Michonne. Telltale teamed up with Zen Studios to produce The Walking Dead Pinball, which allows players to play pinball on location maps from Telltale’s main TWD game, including the addition of player choice to determine the ongoing story. Scopely released its addition to the franchise in 2015 with The Walking Dead: Road to Survival—a game recently plagued with glitches which inspired spending freezes from dedicated players and several intense press releases from the developer promising to do better for the game’s devoted fan base.
Two more developers have stepped in to bring more undead fun to the masses this year. First up is Disruptor Beam’s The Walking Dead: March to War. While not set in the television universe and taking most of its cues from the comics, it still has events inspired by the show. In this strategy game, players develop alliances with each other in order to not only survive the walkers wandering through Washington D.C., but also the humans they encounter while building a secure home base. Players have a twenty mile map to work in, encompassing all the iconic buildings and monuments in the nation’s capital. If they’re having a hard time figuring out what to do, players have the opportunity to bring Rick and Negan onto their advisory council. Help is always needed, according to the developers. Getting by on one’s own in the game is apparently pretty difficult. March to War is free for iOS and Android devices. But you get what you pay for, and this is a new game. Expect some glitches while the developers roll out updates. The graphics aren’t stellar. There’s also been several complaints about monetary purchases failing.
The newest addition to the TWD franchise will be The Walking Dead: Our World from developer Next Games. Whereas all the other TWD-based games focus on player vs player fighting or dive deep into what’s basically a pick-your-own-adventure game format, Our World is vastly different. The game is, essentially, Pokémon Go but with walkers instead of brightly colored creatures. Augmented reality games were all the rage last year and Our World feels like it may have missed the boat by, oh, six months or so—that’s being generous since there’s no actual release date yet. That delay may be in their favor though, giving developers more time to work out the quirks which made other AR games difficult to play, or downright ridiculous due to the programs inability to read the distance to the ground accurately. Game play for Our World shows grounded characters, so there will be little chance of watching Michonne or any of the other television characters floating four feet in the air as they slay the undead. When it does finally release, the game will be available for iOS and Android systems.
This year the San Diego Comic-Con panel for The Walking Dead was a vast departure from the way the show’s run things for the last seven years. Yes, the cast was there in force. Yes, the series’ showrunner and producers were on stage to guide the conversation away from spoilers. But Hardwick was nowhere to be seen. There were no prepared questions or discussion, and they jumped straight to audience questions. There weren’t even name tags on the table. The mood on stage was about eight notches down from past years. They’ve had a seriously rough summer, and given everything it’s surprising they still came at all instead of sending a smaller delegation with the trailer. No one would have blamed them for cancelling.
Scott Gimple opened this year’s panel with a touching statement about John Bernecker, an accomplished stuntman who tragically lost his life after an on-set accident a couple weeks ago. Prompted by a fan’s question later in the discussion, Robert Kirkman and Greg Nicotero also took a moment to remember late director George Romero, the man who created the zombie genre as we now know it.
The cast and crew were excited to announce that episode 801 is actually the show’s 100th episode. Danai Gurira misspoke at one point, saying, “100 years,” instead of episodes, to which Lincoln claimed it felt like it. To celebrate the occasion, AMC has a few things up their sleeves for social media and the likes come October. The producers also brought a retrospective video to show the panel audience to kick off the celebration. I’m not sure what clips they used, but Reedus was especially touched by the video and took the chance to gush about his time on the show toward the panel’s end.
The panel had about 30 minutes of fan questions after the retrospective. We didn’t get much about the new season outside the 5-minute trailer. Kirkman did put his foot down about possible future story lines—there will be no immune characters or another search for a cure, ever. They also teased new characters, but intentionally left the answer so vague, I’m just going to assume an alien invasion is a go until proven otherwise. Gimple joked that as part of the 100th episode, Judith will get her first zombie kill. “Three’s old enough,” Gimple said as everyone laughed. Kirkman promised that season 8 will be, “action-packed and fast-paced.” Chandler Riggs and Jeffrey Dean Morgan stated they hope the show story line falls in line with the comics, as both would love to delve into that particular Carl/Negan dynamic. When asked about Glenn’s legacy living on in the baby, Lauren Cohan hoped the writers give Maggie the chance to instill his strengths in the child as it grows, as well as passing on tales of Hershel, Beth, and the extended family they’ve left behind.
The rest of the fan questions prompted some levity in the group, but not much. On a few occasions, Gimple acted as moderator, urging actors who weren’t answering fan questions to talk about, well, anything. To wrap things up, they showed that baffling trailer again.
No, I don’t think they’re pulling a Dallas, guys. Calm yourselves. But the end does raise a whole truckload of questions.
Catching Up with Fear the Walking Dead by R. C. Murphy
Mandatory Credit: Photo by Rob Latour/REX/Shutterstock (8970351m) Mercedes Mason and Michael Greyeyes ‘Fear the Walking Dead’ TV show panel, Comic-Con International, San Diego, USA – 21 Jul 2017
The main cast each got a little time to talk about where their character has come since the season started, and how the actors feel about where they’ll go in the upcoming episodes. Kim Dickens was quite impressed with how the show’s writers went back to ground Madison’s seemingly unrealistic decision process in severe childhood abuse. She said the reveal was a “beautiful moment where a parent becomes human to their child.” Colman Domingo relished in the chance to rebuild Strand after the yacht joined the other deceased FtWD characters in the great beyond. Frank Dillane wasn’t too clear on what’s pushing Nick now, but showrunner Dave Erickson was there to give the panel’s audience a glimpse into what the production thinks about Nick’s amazing ability to adapt thanks to his troubled past. Alicia was on the outside looking in for family bonding time, according to actress Alycia Debnam-Carey, and has no plans to rely on Madison or Nick to get ahead in their new circumstances at the ranch. She, along with co-star Sam Underwood, defended Alicia’s undefined romantic relationship with Underwood’s character Jake. They were adamant that the relationship will never become that horrible codependent trap all young women on TV fall into at some point, and pointed out how the show has never shied from take-charge women who don’t need men to survive. Daniel Sharman took a minute to quell rumblings that Troy was being taken advantage of or unwittingly influenced by Madison. Their tension isn’t what some assume, but a well-calculated game of manipulation chess. Dayton Callie was on hand to say farewell to the FtWD chaos in his own particular way. Mercedes Mason offered some insight into the changes we’ll see from Ofelia. She’s finally accepted that she’s her father’s daughter, became a total badass in order to survive, but will be very much herself, still. Newcomer Michael Greyeyes gushed about being a fan of the franchise before accepting the role as Qaletqa Walker. What drew him to the character? The fact that Walker was written as an intellectual, a former lawyer. He enjoyed the chance to bring that kind of representation to the small screen.
SAN DIEGO, CA – JULY 21: (L-R) Actors Frank Dillane, Alycia Debnam-Carey and Sam Underwood speak onstage at the “Fear The Walking Dead” panel during Comic-Con International 2017 at San Diego Convention Center on July 21, 2017 in San Diego, California. (Photo by Kevin Winter/Getty Images)
There were a few fan questions at the end. Most were rehashes of every comic-con panel question ever, so I’ll spare you. Erickson did drop one small tidbit—we’ll never see deadTravis on-screen due to scheduling conflicts and story direction.
I wish we’d gotten more from this panel. It was somewhat lackluster, and downright insulting during one portion where it devolved into a free-for-all about certain actors’ accents. Maybe the footage they showed made up for the shortened discussion time with the actors.
But the show is still here. They rolled out a two-hour season three opener on June 4th, garnering 4.7 million viewers. That’s a smidge better from how they wrapped season two, with just over 3 million viewers hanging in ’til the end. So I guess that means there’s still fans for FtWD, but the numbers are still nowhere near TWD’s season openers. Some fans admit they’re hooked after That Shocking Moment at the beginning of episode 302. Others are frustrated because it’s not meaningful to end a story line once it’s obviously run its course—or as I’ve said since the get-go, that particular one never stood a chance. Yes, I’m being vague. No season three spoilers here, folks.
If you, like me, took some time off from the show, here’s a run-down of what happened after the guts hit the fan and the family separated during the season two mid-season finale. Warning, Season Two Spoilers Below!
Nick makes it to Mexico the hard way, via water. He starts his trip strong, but eventually loses all his gear, food, and water. Basically, he’s playing the game on Hardcore Survival Mode, going so far as to drink his own urine and ingest raw dog meat. Nick is saved from an infection in his leg, and eventual death by exposure, by Luciana. She lives in La Colonia, a walled survivor camp, and takes Nick to get his leg treated. The colony believes death is natural, and the zombies are an extension of that. The sick/injured are given to the dead before they turn inside the walls. This group also has a trade deal with local thugs, drugs for basic supplies. It takes Nick a heartbeat to take over the drug portion of the trade, putting Colonia’s leadership on edge. It also takes him almost as long to seduce Luciana. With the drug trade their only means to obtain water and other vital needs, it’s vital the chain remain unbroken . . . then it’s broken. Nick and Luciana are pitted against Colonia’s increasingly crazed leader. He demands faith, they know faith won’t convince Marco and his people to share. Nick attempts to make another trade, but Marco reveals he’s found a new drug supplier who’ll help him take over La Colonia. When Nick takes the warning back to his new friends, they refuse to leave. The leader is bitten by an infected citizen, and his lie about supposed immunity is outed. Despite learning the truth and the upcoming raid, Luciana won’t leave her people when Nick demands they run. It isn’t until he returns the next day with news of a helicopter landing near the border that La Colonia’s people realize they must flee. Their leader stays behind, using his flagging energy to open a gap in the fence so the infected can attack Marco and his goons. The fleeing survivors make it to the border. And no further. Most are gunned down on the spot. Luciana is injured. She and Nick are separated at the season’s end and taken hostage.
Madison, Alicia, Ofelia, and Strand chase after Nick, but fail to find him. They also fail to secure the yacht and it’s stolen by the Mexican military. With nothing left, they end up hiding in a hotel. When the undead spread, a group was trapped in the hotel during a wedding. After Madison and Strand nearly kill everyone by getting drunk and having a party, they eventually work out a deal with the current occupants. There’s a catch. They have to shun Elena, a woman who came to Alicia’s rescue after the drunken fiasco. There’s tense history between Elena and the hotel leaders, Oscar and Ilene—so much so they’ve kidnapped her son, Hector. Regardless of who can stay or go, Madison pushes forward with clearing the undead from the hotel. There’s too many, but Alicia finds a riptide under the neighboring pier. The combined groups work out a plan to lure the infected to the riptide with Madison as the final bait. Ten days of cooperation later, all looks good. Except the lingering resentment from Ilene, who blames Elena for killing her daughter, and stabs Strand instead of her nemesis. Forced into action, lest Strand die from lack of care, Elena tells Madison about a gang-operated drug trade nearby where her other son lives. Yes, it’s also the same place Nick trades Oxy for water. Madison overhears just enough inside the store before they get their med supplies to know her son lives, and to make life difficult for the Colonia family Marco questions. They’re given their marching orders and return to the hotel to tend to Strand. Madison opts to use the generator to run the hotel sign, for Nick. Travis finds it instead. And he’s alone.
Chris wandered off from the group with a head full of crazy and not much else. His father only followed to keep him safe. After they make a grab and dash supply stop, the men Chris accidentally saved track them down and extend an invitation to join them. Brandon, Dereck, and James are heavily armed, dangerous, the opposite of what Travis wants for Chris, but the kid is already mentally with the new guys before they’ve been together long enough to know each other’s middle names. The newly-formed group spots a farm to ransack. Slight problem there; the farm owner is still alive and very protective of his chickens. James pushes his luck and is shot. Chris returns fire, killing the farmer. And he’s not sorry about it at all. Chris sees kindred souls in Brandon’s crew. He also sees a future, which he’d given up on just before leaving the yacht. James’ injury prevents the crew from moving on. Chris’ new friends get anxious, sure James will turn and they want to do him in before then. In a rather obvious double-cross, Chris holds Travis back while James is put down. Father and son part ways, Chris joining Brandon on the road, Travis heading on foot to find the ocean, and eventually the lit hotel sign.
That sign brings every survivor to the hotel door. Including, eventually, Brandon and Derek. The hotel dwellers reluctantly bring everyone into the parking garage to check them over and provide shelter. Chris’ companions, without him in tow, are typically American and rude. They also have news. Chris totaled their vehicle and perished in the crash. Madison and Strand agree now is not the time to tell Travis. Slight problem with the plan, when the duo are pulled aside to fix one’s dislocated shoulder, the other newcomers riot. Travis joins them to calm everyone down. From there, it’s a train wreck. Travis learns about Chris, but the stories don’t mesh. He gets the men alone, manhandling the truth from them—Chris survived the wreck, but they shot him over an injured leg. Snap. Travis beats the men to death, also accidentally injuring Oscar. The injury requires surgery, but due to the lack of, well, anything Oscar dies mid-procedure. A lynch mob rushes for Travis’ room. The family fights them off. Strand helps Madison and Alicia get Travis away from the hotel, but stays behind. From there, Madison finally falls into Nick’s footsteps and tracks him to La Colonia. There’s no Nick, but Alejandro, Colonia’s leader, gives them just enough information to send them in the right direction before he succumbs to the infection.
Will you tune in to see where the family winds up, or have you moved on to greener entertainment pastures? Personally, I’m using my free time to watch Wynonna Earp and a couple other SyFy shows.
There’s reports flooding our servers detailing instances where folks mistake actors for fictional people who live in a plastic box. I’m not talking one report. There’s many. It’s overwhelming. And if I’m honest, it breaks my heart a little to have so many confused people out there in the world.
Surely you jest, R.C.. There’s no way someone’s eyesight is that bad.
No, voice inside my head, this is not a joke. This is merely a response to yet another string of fandom-based attacks on actors who they worship . . . until the writers take the actor’s character on a darker path.
Where does this turn against the talent begin?
I’ve personally witnessed exchanges where fans downright refuse to call an actor by name, insisting, “They’ll always be [character name] to me,” with a laugh like that forgives the rudeness. No, my dude. By transferring the character’s name to the actor, you’ve dehumanized them. It then gives your conscious leeway to continue with a conversation which often accuses the actor, not character, of vile things, like racism, bigotry, rape, and murder. Sometimes the name confusion thing is an honest mistake; though given the age of the internet, that excuse is thinner and thinner by the minute.
The real problem comes when fans continue to dehumanize actors, stripping them of autonomy and presuming they’re directly responsible for their actions on screen. Worse is when fans demand reasoning from the actor. News flash: Actors work from a script written by a team of other people, they’re given direction from yet more people during the filming process, and even then the action on-screen is further changed in the editing room to adjust the scene’s tone or cut in new dialog because something changed last minute. That character worshipped or hated by millions is actually fifteen badgers in a bag pretending to people. One lucky badger gets to be the face, but there’s so much more under the surface. It isn’t fair to actors when fans refuse to differentiate between who they watch on-screen and the person they meet at a comic-con or happen to pass on the street.
How does confusing a name turn into death threats? I’ve honestly got no answer for you. My brain isn’t wired in a way which allows me to even consider the violent actions some so-called fans have taken. Floods of threats happened several times in the seven years TWD has aired. Lori Holden and Sarah Wayne Callies were constantly under fire during their tenure, blamed for every instance their characters made an ill-advised decision and threatened with sexual violence or death if the character didn’t shape up or get killed off of the show. Children on the show aren’t immune to this bile. When Sam panicked during their escape from walker-ridden Alexandria, fans took to social media to call the young man playing Sam degrading names, accusing him of being mentally handicapped, and even going so far as to write fetish-like theories where a child is mutilated by walkers. Even Yahoo’s TV reviewer chimed in, their article vibrating with indignation that a traumatized child dare act traumatized—uh, what? Brighton Sharbino was the subject of a terrifying online campaign, besieged with death threats after her character Lizzie demonstrated sociopathic tendencies and became a threat to her traveling companions, including an infant.
At comic-cons, actors are often followed on the way to the bathroom, into an elevator up to their to their hotel room, and at one event where the greenroom was on an elevated platform some fans camped out and zoomed in with cameras to watch the actors eat. Norman Reedus was bitten, and while the incident was blown out of proportion, it should have never happened in the first place. Keep your mouths to yourself!
In recent weeks, two TWD actors pulled some or all of their social media accounts. Alanna Masterson took to Instagram a while back to firmly reprimand fandom parasites who felt it their duty to police her postpartum weight. While she did deactivate her account for a bit, it appears she’s active again on the site as of the end of May. I doubt the same will be said about Josh McDermitt. We left McDermitt’s character in a really crappy situation—die like Abraham or work for Negan—and every Eugene fan knew what the choice would be; he’d chose life. But there’s still that unhinged group who launched irate messages at McDermitt, putting Eugene’s betrayal on his head and threatening his life so often, he’s reached a breaking point and will not subject himself to the hate any longer. We honestly don’t deserve McDermitt, guys. In the FB Live video recorded before he closed up social media shop, he ended it by stating he loves his fans. There’s people threatening him daily, but he still acknowledges those who genuinely care about him, the actor.
How can we prevent incidents like this in the future? Well, let’s start by assuring everyone can see the differences between an actor and the character they portray on the big screen, TV screen, or stage.
Photo credit: J Benham from sickpix
This is an unnamed zombie. Their clothing is torn, dirty, bloody, and doesn’t fit properly. What about makeup? Does it suggest they’re going out to coffee with friends? Nope. It screams, “I’m a god damn zombie, bro! Let’s eat some people.” The zombie’s face/arms/etc. are covered in blood/slime/dirt.
This is an actor. Who just so happens to be me, and the same person portraying the zombie above. Note that the clothing is neat-ish. Hair is neatly styled. The actor sits in a natural, friendly position for this headshot. There’s no blood or dirt. There’s no underlying need to devour human flesh. There’s little similarity between the figures in the images other than the eyes.
Given some fan’s theories on how reality works, the fact that I often portray the undead means I should totally be a cannibal, correct? Truth is, I hardly eat meat, let alone desire to take the time to kill a human and process that much flesh for consumption. My hobbies include . . . wait for it . . . using my acting skills to raise money for charity. So tell me again, why would anyone assume an actor in a violent or morally ambiguous role would want to perpetuate the same during their off-time? Acting is emotionally and physically exhausting work. The minute they can drop it and relax, they will. Keep in mind, fake blood is unpleasant at best and a stain-filled, hair-pulling nightmare at worst, and we won’t get into more complicated SFX makeup with its aerospace-quality adhesives and suffocating prosthetic pieces—few actors enjoy the process and certainly wouldn’t endure the extreme discomfort outside of paid gigs. The same can be said for the wardrobe, which is often the same outfit in different stages of disgusting on shows like TWD. Once actors scrape off the makeup and put on their own clothes, that’s it. They’re free elves, no longer controlled by the chaotic chorus—the creative team building their character.
Do yourselves a favor. Make sure you understand the difference between an actor, their character, and the situations in which said actor fully controls the character’s actions—which is rare, despite how many times one hears, “Yeah, he just made that up on set that day.” At the end of the day, the performance the actor delivers isn’t just theirs, but has been manipulated by writers, directors, producers, digital artists, and the editor. Instead of attacking one person over the decisions of many, why don’t you focus your energy on supporting the amazing work they’ve produced? No one, literally no one alive right now needs to endure yet another human being attacking them for situations completely out of their control.
Occasionally, The Walking Dead characters escape the worst fate—death by Grimes incompetence—and move on to make their own safe place in a world gone to the undead. Their numbers are tragically far, far fewer than those the main group has buried over seven seasons. Guess it just got easier to write deaths opposed to penning compelling reasons why anyone would distance themselves from Rick’s flawed leadership. Whereas we mourned the loss of numerous great characters in the Life After Death articles, in this sister-series I’ll take a stab at predicting what happened to our absent survivors, and we’ll catch up with the actors who brought them to life.
This week, we’re covering the rest of the GMH gang.
The Grady Memorial Hospital team was, at best, an example of filling a dire need during trying times. What tainted their good deeds was the cruel bartering system, which quickly degraded into indentured servitude. The rampant abuse of power garnered attention from Beth, and later Rick’s crew, and they were obliged to run moral interference. Amanda took up the leadership mantle after Dawn’s death, opting to use peace instead of force to settle the bloody standoff. But what if some of the hospital’s surviving team broke away when their lush Armageddon life dried up? There was ample potential to sprout dissent in the ranks; power-stripped officers would readily peel off to find their own income once the meds-for-favors business ended. They’d likely leave within days of Rick’s departure, not waiting to see how Amanda’s new plan would work for them. They have high expectations, ones which don’t include giving away medicine because it’s the right thing to do. Living in Atlanta’s outskirts, they’d embrace their mean side and form a brute squad, roadmen taking advantage of anyone desperate enough to check the city for supplies. It’s not the good life high above the undead chaos like at the hospital, but we’ve seen how far ruthless men make it on this show. They’d be okay for a while.
Thankfully, the actors who brought these officers to life are a whole lot nicer. So, where have they been since facing off with walkers?
Officer McGinley, along with is partner Franco, just wanted to keep the status quo—even though it cost numerous people more than they’d bargained for. Hey, everyone has to find a way to survive, right? Kyle Clements brought McGinley to life on the small screen. Not long after he turned in his officer’s uniform, he appeared in Wild Card and appeared alongside Arnold Schwarzenegger and Emilia Clarke inTerminator Genisys. Late 2015, Clements joined the covert side of Marvel when he played a S.H.I.E.L.D. agent on ABC’s super-drama Agents of S.H.I.E.L.D.. The following year, he appeared on Quarry and played a guard in the young adult drama Allegiant. He’s got a couple projects coming up, so keep an eye out!
For Officer Bello, her job was everything. It only made sense to continue her life-long dream after the zombies took over. Where did good intentions go wrong and she fell in league with someone as selfish as Dawn? Unfortunately, we may never know. Away from the TWD universe, actress Amber Dawn Fox can be found in a few independent flicks, including Descending, Fix It in Post, Levon, Proverbs, and Tarnished Notes. She also appeared in an episode of Secrets and Lies in 2015. Catch Fox in action in the upcoming flick The Haunting of Four Points.
Ever-present Officer Tanaka lent a hand whenever necessary. His caring nature got the best of him when Percy faked breathing problems so Beth could pilfer drugs, completely catching the officer off-guard. Since his time as Tanaka on TWD, Jarod Thompson has worked on a few projects, including a short film, providing a voice for an animated adaptation for the graphic novel The Zombie Kronicles, and for his first film appearance, Thompson dances in A Change of Heart, which stars Virginia Madsen and Aimee Teegarden.
The First Day of the Rest of Your Life: Review for The Walking Dead 716 by R.C. Murphy
Hold your horses. I know you’re excited, but just so you know, there’s episode spoilers in this review.
I’ve been practicing that pep talk since the end credits ran and still don’t want to accept the message I, personally, saw in this finale. It’s just so . . . tiring. An age-old tale, one playing out in our current news feeds, if one cares to see the parallels.
But, really, do we need another story where gays, people of color, and women are the only reason white men survive their own bad decisions? Nah, dude. I was good with those stories a while ago. Let’s move on to a tale where everyone owns their bull, doesn’t hold petty grudges, and the fighting isn’t dependent on men’s egos.
I will admit, I was partially wrong about Dwight. Which is glorious because Negan came to the same conclusion I did—Rick had no plan and if someone were to spoon-feed him an easy out, he’d snatch it like a seagull in a tide pool at low tide. Well, that’s exactly what happened. Now, Dwight does look a smidge guilty throughout the invasion until bullets fly, then it’s survive or turn walker. Did he leave that wood figure with the message at the gate? I don’t know. He’s a smart enough guy to take one look at Rick’s desperation and understand that’s not the person to trust with your life. Too many others fail to understand this. The last few seasons have been awash in blood shed during Rick’s ill-considered schemes to get one step ahead of the bigger fish in the pond. He’s staying afloat in the apocalypse on a raft of souls. At least when Negan does it, he owns up to it.
In typical fashion, Rick escapes with apparently the most manageable injuries of those shot during the botched attack, seeing as he’s upright when Michonne and Rosita are left bed-ridden at the conclusion. That’s his big punishment after he dragged his people into an uneven deal with the Scavengers, harassed and mentally terrorized women and children to strip them of all their weapons—weapons which they cannot return now, if Rick ever intended to in the first place—sent numerous people to their graves because he just had to bait Negan into taking action, and left their homes vulnerable to constant attack when said baiting backfired. Rick pays for his ineptitude this season with a banged up hand, superficial scrapes and bruises, and what’s essentially a deep bullet graze to his side. Michonne pays for her loyalty to her lover with broken facial bones and who knows what else. Rosita pays for her part in the assassination plan by getting shot, but her wound is more severe and requires longer recovery time.
Then there’s Sasha, who, despite all her potential, is the latest sacrifice to Rick’s ego. The price for stepping out of line is becoming the catalyst for Alexandria to shoot itself in the foot. Not only does Sasha stoop to suicide-by-pill, but her death moment lasts a blink so that Rick’s war can begin in earnest. I can just see that plotting conversation now. “Well, how will they get a shot off if the Scavengers hold them at gunpoint?” “Zombie Sasha.” “What? I mean, there’s a bunch of things we could—” “Kill Sasha. Sonequa has a movie to film and that character is too complicated.” Note: Suicide is not noble. It is not the way to help your friends and loved ones get ahead, even if you feel like a burden. Sasha had so many other ways to get out of her position. Given outside influences, like the actor’s schedule, the writers opted to take a shortcut in Sasha’s story. No one should ever feel suicide is a viable shortcut option—from writers looking to punch up their work, to those like me who’ve lived with depression for years. There’s always another way. Trying to make Sasha’s suicide into a glorious take-one-for-the-team moment is appalling. Adding in bitter-sweet scenes with Abraham is just a cheap shot. I can’t be mad that they hauled Cudlitz back onto the small screen for some of the sweetest scenes he’s had on TWD. I just can’t. Those clips where Sasha remembers, or fantasizes, about Abraham were the only thing keeping my eyes on the screen. Their chemistry as a couple is so appealing. Well, once it got past that awkward beginning stage. But, like so much in this finale, the moment cheapens when one understands those scenes are a manipulation tool to make up for the lack of surprising action outside Abraham’s sudden appearance.
The plot is pretty straightforward. The Kingdom marches to join forces with Alexandria. In Hilltop, Maggie is done waiting around and will take her new people to likewise join the budding army. Over in Alexandria, Dwight spins his tale. Rick takes the bait. Everyone springs into action, laying out road blocks to slow the Saviors, and even setting up explosives at the gate. The Scavengers arrive in garbage trucks, and then spend half the episode being obvious double-agents as they “help” stage the ambush. In the Savior’s convoy, Eugene implores Negan to stand back and let him do the talking. Which he does. Rick gives Rosita the okay to bomb Eugene’s smug self. The bomb fails. That’s when the game is up. Jadis and her people turn their guns on everyone in Alexandria’s walls. Negan and Rick chat. Mostly, Negan makes demands and derides Rick for his audacity. Sasha pops out of the oh-so-dramatic casket as a walker, surprising Negan for perhaps the first time on the show. The fight breaks out—as far as fights goes, it’s a typical TWD gunfight with quick cuts and the body count is almost entirely third-string characters who didn’t even have names. Jadis shoots Rick, and after that it takes but moments to cow Alexandria into submission. Negan makes good on his promise to go after Carl as the next sacrifice for Rick’s hubris. Rick grandstands with the same tired, chest-pounding rhetoric he’s uttered since the day Negan killed Glenn. Then, Shiva happens. The cavalry arrives on her heels, saving everyone—except Michonne, who fights on her lonesome and is presumed dead for a while. The Scavengers and Saviors flee. Alexandria plays clean-up. In a voice-over, Maggie gives a speech to Rick about coming to help them because Glenn helped Rick, and that’s how they all started this life—or some utter rubbish because I couldn’t listen after she basically threw Glenn under the bus for every death Rick’s poor leadership has caused in seven seasons. Yeah. No. Don’t use a favorite character to boost the poorly-written character who in-part caused his death. That’s the same as Maggie forgiving Daryl, giving him an ego boost, and watching quietly while Daryl continues to express the behavioral problems which killed Glenn in the first place. The white guys don’t get a free pass because the woman from an interracial couple says their sins are washed away.
Much like I thought, this episode isn’t even the proper beginning to the war. It’s the warning shot. How will the showrunners handle a full-out war with bloodthirsty Negan? They’ve balked at every turn, admitting they downgraded the violence after the season opener, while still swearing Negan is Negan is Negan. Not when you trade Lucille for a whiffle bat. Maybe the downtime will help them reaffirm what, exactly, they want to do with these characters. If they don’t change something, the fans will leave. It’s the cool thing for reviewers to drop TWD from their rotation right now. Good thing I’m not cool. I really, truly want to see if they can get over these hang-ups and dig into good storytelling again. Bring on season eight and the war. I mean, war prep was boring, but surely being in the thick of it will yield more tension beyond those awkward pauses when Rick and Negan talk alone together.
Something They Need: Review for The Walking Dead 715 by R.C. Murphy
Warning! There’s episode spoilers below.
The action targets three story lines; a blessing since the Oceanside invasion is a snooze-fest and utterly predictable. If it were the sole story line in the episode, it would have been one of the most boring hours of television in creation. The only curveball in the episode is Tara’s complete lack of give a dang once decision time is up and the invasion begins in earnest. Mind you, they have a plan to rob women and children, yet ask any Alexandria resident exactly how they plan to employ these guns against Negan and there’s crickets. So why would Natania trust a woman holding her at gunpoint with no provocation, and then just hand over every gun to hyper-aggressive people who can’t say what they’ll do with them? Obviously Natania is never going to agree to such ludicrous demands. The second Oceanside’s leader fails to say yes, Tara blames her for making the only logical decision available. Women and children needlessly suffer emotional and physical harm for failing to fall in line with Rick’s demands. Didn’t anyone stop to think that if they used explosives to scare the residents, it’d also attract zombies? Why hold civilians in an unsecured portion of unfamiliar territory? Nothing about the invasion’s resolution makes sense, unless you realize it was written to indebt Oceanside to Rick, therefore forcing Natania to surrender their weapons to the people who saved them or look completely unhinged. Don’t forget, Oceanside could have protected themselves had Rick not ordered his people to disarm their fighters and hold everyone outside the secure perimeter. How does Rick react to her grudging gratitude? By taking every last gun in the community. That pettiness is exactly why this show is going downhill. Enough tit-for-tat revenge schemes. How about an episode where Rick treats an outside group with respect? Would it have killed him to speak to Natania in person before getting her people attacked, or is he like our sitting Vice President, unable to be alone in a room with a woman who isn’t his spouse?
Who’s holding him accountable for his questionable decisions? It sure as heck isn’t God—a.k.a. the writers.
Who does suffer drastic consequences for their actions on TWD?
Sonequa Martin-Green as Sasha Williams – The Walking Dead _ Season 7, Episode 15 – Photo Credit: Gene Page/AMC
It all boils down to punishing women. Sasha’s irrational decision to join Rosita’s mission means she must be pushed, in this case via David’s rape threat and molestation. When Rick jumped on the crazy-hair train and promised Jadis a ton of weapons they’d never have a chance of finding? He’s rewarded with armloads of guns falling in his lap with little to no effort on his part and a whole lot of grandstanding. Daryl’s decision to hit Negan cost someone their life, yet his punishment on-screen is some dog food sandwiches and gopher duty. Excuse me? How is raping Sasha going to make Rick’s war happen? It isn’t. It’s a message to women to stay in their place, listen to the man in charge, and to rely solely on the good graces of another man in order to make it anywhere in life. This show if chock full of these jabs at the strong woman stereotype. Maggie endures a dozen moments like this per episode in this season alone—and let’s not forget her near-rape moment back during The Governor’s reign of terror. There are few exceptions to this rule when it comes to TWD women. At some point or another, they’re a forced-sex object. Can’t the writers move past this already? Name anything a man finds terrifying and I guarantee it’ll also frighten a woman. Lean in close, writers. Not every strong woman needs a rape story in her history in order to make her a true survivor and therefore worthy of becoming a leader.
Playing off the rape threat, Sasha depends solely on Negan to survive the night locked in a closet with a soon-to-be walker when he gives her a knife and several “difficult” decisions to make. Obviously she isn’t going to lay there and wait for an attack—that’s what David wanted to do in the first place, now he gets a second change to molest Sasha after death? Bull. But we’re supposed to believe Negan Is Great And Merciful. He’s not. He’s the bad guy, and despite Jeffry Dean Morgan’s insane amount of charm, he will remain a scum-sucking monster no matter how much positive PR the writers give him. Standing up against rape doesn’t negate murder, mental abuse, and torturing those who step out of line. Negan gives Sasha the right to life, and orders to strategize how to stop Rick’s plans before they fully hatch. She turns around and makes some grand lie about wanting to kill herself in order to manipulate Eugene into giving her a weapon to use on the bossman.
I’d like to remind writers that suicide is not something to arbitrarily throw into a script because your character needs or wants something. Too many depressed people are ignored or belittled when they do reach out during an emotional crisis because pop culture trains us to believe they’re exaggerating, or worse trying to manipulate. There were numerous ways for Sasha to convince Eugene to give her a weapon, yet when hard-pressed to deliver something clever, the writers use the lowest form of mental manipulation. F for effort. Go back and write something which doesn’t harm an already ostracized subset of people.
Back in Hilltop, it’s really more of the same. Maggie’s role as a leader solidifies as she expounds expert farming advice to receptive ears, much to Gregory’s chagrin. This is where it gets eye-roll worthy. Gregory stalks Maggie, cornering her to discuss her intentions in the community now that their doctor serves Negan. The scene is only fun when it comes to realizing Gregory can barely tie his shoe in a tense situation, let alone protect a pregnant woman and take on a zombie. Of course Maggie saves him. She also has the gall to tell passersby that he just made his first kill. The second she shames him in public, Gregory rushes to look up Simon’s address and plans a trip to tell Daddy about Maggie’s bad behavior. Gregory is that manager who’s so afraid a woman in his employ will take his position, he winds up ruining his own career undermining hers. Simon doesn’t want Gregory to whine at his doorstep. He only gave the guy his address to get information about whatever Rick’s planning. Once Gregory fails to deliver more than babbling about women taking over his mansion, he’s walker food. I know, I know. I keep predicting Gregory’s death. At some point it’ll happen. I honestly cannot see that character surviving until season eight. He’s just too . . . pathetic.
The finale is around the corner. I have absolutely no expectations and have passed up every preview so far. All I know is Dwight’s about to hand Rick the key to this war, and I’m livid that everything goes so smoothly for a guy who honestly can’t pry his head from his backside long enough to realize he’s gotten everyone killed thus far, with more deaths yet to come.
The Other Side: Review for The Walking Dead 714 by R.C. Murphy
Warning! This review contains episode spoilers.
There’s absolutely no sense of urgency going into the final two episodes for season seven. Sure, every character on-screen is doing something to prepare for this upcoming war, but they’re going about it in such bone-headed ways, there’s no enjoyment, just grim knowledge that the writers will kill off more characters after a flimsy attempt to make them loveable.
The Saviors roll into Hilltop on a mission to ferret out Daryl. It’s the prefect chance for Gregory to polish his reputation. In Simon’s opinion, the push-over leader might as well be the talking Welcome Mat from the Beast’s castle—sentient enough to be useful, but unable to enact any real change on his own. In a rush to save his skin, Gregory licks Simon’s boot with flattering talk about booze—men are so damn weird—and finally launches a desperate bout of word-vomit alluding to another party vying for power in the village. For his effort, and for graciously allowing Dr. Carson to become Negan’s personal physician, Simon invites Gregory to his place for drinks and a discussion about the power struggle. Who does Gregory see at a threat this time around? Not Maggie, who he’s fashioned into his own personal demon since her arrival. No, Gregory makes a 180-turn, focusing his paranoia on Jesus . . . in the same episode where we finally learn what lies behind the long-haired man of mystery. Chew on that for a while. Guess misogyny wasn’t enough of a shield for Gregory, they had to make him a bigot, as well. Can we just stop putting men like this on television? It’s no longer cathartic to see them attacked by the undead, or however they wind up dying, but instead reaffirms the notion that no matter how bad a person you are, in the apocalypse you can still get ahead by hating everyone who’s different. Want to smash the patriarchy with your art, TWD writers? Start by denying them someone to identify with and see how they like the turnabout.
Katelyn Nacon as Enid, Sonequa Martin-Green as Sasha Williams – The Walking Dead _ Season 7, Episode 13 – Photo Credit: Gene Page/AMC
With the Saviors in town, Maggie and Daryl are finally forced to deal with each other when they take cover in a basement together. Was it the long-awaited verbal smackdown from a grieving widow? NO. And that’s a damn shame. Maggie is very forceful in the way she forgives the man directly responsible for her greatest loss to date, going from back-patting to straight up cheer squad for Daryl’s ego. The moment isn’t a sweet reconciliation. It’s downright infuriating to watch Daryl escape consequences for his childish behavior yet again. I mean, not only did his punch get Glenn killed, but he’s gone on to mope about it like a teenager denied the car for an evening joyride. Yes, I heard his apology. It’s empty. He is forced to apologize because he’s stuck in Maggie’s presence and afraid she’ll lay into him before he can slap a Dollar Store bandage on the problem. His apology is a reflex, bred from years of verbal abuse in his family, but it’s not a sign he’s learned a lesson. Maggie forgives him so the fan-favorite character isn’t in the dog house anymore. That’s the only motivation behind what should’ve been a powerful confrontation scene. Instead it teaches that empty apologies are currency to cover the cost of assisting in a murder. Whoops! Sorry your lover died. Wanna go shoot arrows together?
Give me a break from all this man-appeasing bull.
Okay, but I didn’t mean you should produce what’s probably the worst girlfriends road trip in the history of mankind, TWD folks.
Rosita and Sasha are forced to deal with each other yet again. Guys, this entire story line is just daft, let’s get that out of the way. No woman is going to buddy up with her dead lover’s ex to go shopping, let alone assassinate someone. Why put oneself in a position to be verbally or physically attacked by someone who obviously holds a grudge? Drama doesn’t make women’s hearts beat. Sasha’s finally achieved the good life. She just has to wait for the right moment to lead, or help lead, Hilltop. Instead, her mental progress is dust-binned in favor of a fruitless assassination plot. Rosita, for her part, does her best to screw up. Even when she opens up emotionally, it’s to admit she’s spent years using men with no intention to make a future with them, nor explain why she left. For the record, that’s not how feminism works, so let’s not make Rosita into some fort of feminist figurehead. She’s just a cruddy person who, instead of asking to learn a skill, she shadows lovers, takes what information she wants, and is gone not long after. No matter your gender, that’s awful behavior.
Two episodes left in the season and nearly an entire episode is devoted to developing secondary characters who’ve been neglected—except Sasha, who’s regressed to where she was mentally after Tyreese died. The writers use an entire episode for an info dump. Good writers spread information throughout the piece. They don’t stop in the middle of the arming-up scene and waste an entire chapter to delve into why a character has mired in two-dimensional Angerland for years, or to give a free pass for bad behavior because Tragic Backstory is a magical cure-all. It’s not. It’s cliché, lazy writing. Seven years down the line, these people are so far removed from the world, they no longer understand how to use fan’s emotions to pace the story’s flow. We should be desperate to know what happens next week. I watched one preview, shrugged, and assumed the next two episodes will be over-filled with action stemming from Rick’s rash decisions, with the season finale ending on a cliffhanger. I highly doubt the war is here yet. There hasn’t been enough tension to warrant a conflict of that magnitude, not with the side trips to frolic at the county fair and all the time it takes to don kid gloves for handling Daryl’s ego. Maybe next year we’ll finally get there. Have hope. We’ll get that war, guys.