Reviving that which is Not Dead Yet by R.C. Murphy
One does not simply march into Cannes four months after dropping what was billed as the final film in a franchise and announce a new six-film deal to revive it.
But that’s exactly what Martin Moszkowicz, chairman of the board for Constantin Film, did during the international film festival. With absolutely no plan under their belt, the production company, which already owns film rights to Resident Evil, announced hopes for a six-film arc in an upcoming reboot. Variety scooped the original interview, but couldn’t get any juicy details from the chairman during their chat. Probably because no one was ready for him to jump out and announce something this big so soon.
Days after Moszkowicz’s Variety interview, Deadline dug up more dirt on this poorly-timed revival. According to them, the first film installment will be directed by James Wan (Saw, Aquaman). Wan made a name for himself in the horror industry, delivering films which on the page could become utterly ridiculous, but often end up being at the very least fun thrill-rides for the audience. I’ll never forget the night I sat to watch Dead Silence as a joke and wound up sleeping with the lights on. His work on Saw set the tone for virtually every scary flick released after 2004. It’s almost natural for anyone working in the genre to court Wan, and I don’t blame the RE team for wanting someone solid to lead the charge.
The wildcard in Constantin Film’s plan is the writer slated to bring a new voice to the franchise which earned $1.2 billion in its lifetime. Greg Russo is currently working with Wan on the upcoming Mortal Kombat revival. And that’s about it for his film writing career from what I managed to find. As a RE fan, that’s cause to raise a brow. A seemingly untested writer is handed one of the largest horror franchises with no notice and no plan from the production company besides grabbing Wan and apparently whoever he’s currently tied to professionally. A few articles said the MK script wasn’t half bad. But Constantin Film still demands massive faith from fans if they expect us to forgive rushing the original franchise into its grave, then they hand the lot to someone we’ve never heard of except that he’s working with a well-known horror director.
Wan’s name alone won’t make Resident Evil live again. Constantin Film hung the future for the reboot onto Russo’s ability to capture the magic which made the games so popular and drove the film franchise into horror history. It’s almost too much pressure to put on one person. Like someone simply walked up on Monday and said, “Here, we just told the public this is the last movie, but we’re going to have you rewrite the entire thing from the start. Don’t muck it up.” As a writer, I’d run far from that offer.
Keep in mind, there is no actual script yet. Everything has been announced, but all parties are currently focused on other productions. It’s entirely possibly Constantin Film will never get the Resident Evil reboot off the ground, or they’ll change the main production team before filming begins. These folks want to talk a big game in order to remain relevant, or simply to keep the film rights. There’s no planning behind this announcement; it’s giving me little faith in what’s to come.
Jovovich, the face of the film franchise since its inception, delivered this parting shot for the new Resident Evil team during an interview with ComicBook.com. “I would suggest that you find people that have that same passion for the property before you talk about reboots. I think if you get into this kind of genre, people are very sensitive to fakes. There’s some real fans in the sci-fi/action/horror world, and they’re not idiots. They can smell when something is done because people love it and when something is done just to monetize an opportunity.”
If you were given the monumental task of writing the first Resident Evil reboot film, what changes would you make to the universe, or do you prefer the tale laid out by the original series? Personally, I dig the idea of a reboot because they never did reach the universe’s full potential. However, the timing makes this news like dancing in the cooling ashes of a funeral pyre. It’s the ultimate case of, “Too soon, bro.”
Week three’s departed cast members were two of the hardest to deal with. The Greene family started out on rocky feet with the whole barn thing, but by the time Hershel and Beth met their demise, they’d become integral to the team’s survival.
I’ll be honest, Hershel’s death hit me the hardest of any since the show began. Combined with the genuine good guy Scott has proven to be over and over again during his convention appearances—where he’s often one of the last to leave because he strives to thank every volunteer—and it really felt like losing Hershel meant losing a weekly dose of Scott in our lives. Luckily, he’s not one to rest on his laurels. While still traveling for conventions, Scott has also filmed episodes for Bosch, and had a recurring role on A&E’s Damien. Currently, Scott is working on a Netflix original, The OA, slated to release later in the year.
When Daryl carried Beth Greene from the hospital, many, many hearts shattered. Beth was one of the last gentle souls, the one who stayed behind to care for the baby, the one to sing a song when the silence grew too heavy. Emily Kinney took on some vastly different roles after her time on TWD ended. On Arrow and The Flash, Emily was Brie Larvan, a pun-heavy villain with a fondness for bees. For her role on Showtime’s Masters of Sex, Emily stepped far away from the small-town country girl vibe she used as Beth. She also appeared in several episodes of Cinemax’s historical drama The Knick. Conviction is a new legal drama releasing Fall 2016 from ABC starring Hayley Atwell, Shawn Ashmore, and Emily Kinney. When Emily isn’t filming, she’s recording music—her album This is War dropped in late 2015—and performing, often at horror convictions where she also meets fans.
The Asylum stepped into some large footprints when they opted to take a zombie film and set it in a Jurassic Park situation. They went for broke, too, holding nothing back when it came to zombie gags, perfectly placed irony, and an attempt to tell a coherent story through most of the film. It really held in there until they’d killed off so many characters, the hero, Ellen, basically had to say, “Forget everyone, I’ll do it myself.” Which still fits the theme laid out in just about every dino-flick when women finally have enough dying and get things done. There’s the usual parallels—mocking the infamous t-rex chase with infected lions, one character ditching the others and running, children coping way better than adults about man-eating animals, etc.—which make the film tolerable. The plot is simple, characters are just deep enough to provide tension, and the sense of funny-wrong doesn’t miss the mark. While there are times where plot points are dragged out for too long, it’s not so bad it bogs down the 90-minute format.
The easiest way to get to know characters where all your effort on a film is spent figuring the logistics of zombie apes is to trap them in vehicles throughout the three acts to do info dumps. It isn’t ideal, but for films like this, it isn’t about the characters so much as putting characters in outlandish situations to see if stereotype personalities will make it out alive. This movie has an okay mix of decent characters and some which needed serious reconfiguring just so fans don’t spitefully throw a beer at the screen when they finally shut up and die. Even Ellen, who we are supposed to like in the end, has character traits which can just stop happening in everything always forevermore, especially her need to repeat how much she feels she’s failing a dead guy. Family obligation isn’t the only reason a wealthy woman would show remorse for So Many Dead People.
The other main characters are the zombie animals. As with all Asylum features, don’t place your bets on being blown away by the computer graphics. There’s a few great shots featuring the lead gorilla character, reaction shots for smaller zombie monkeys, but for the most part the undead characters are blurry and laughable. When the zombie giraffes stepped on screen, I gave up and laughed through the entire thing. It’d take Marvel-sized budgeting to fully render the amount of shots needed to make the zombies work. When it came to fight scenes, they made it even simpler. The actors clutched wadded faux fur for the small animal attacks, and batted away a hand puppet for the terrifying zombie giraffe scenes. The humans who are attacked get slightly better zombie treatment. My favorite gag involves the nesting instincts of a bald eagle. You’ll know when you see it.
Zoombies gets three gnawed cow hooves out of five. It’s a decent Saturday night drink-and-watch with friends.
During week two of our series, we take a moment to peek in on Emma Bell and Laurie Holden, the women who brought us the sibling bond most hope they’ll have during the apocalypse. But with, you know, way more time together and less things trying to kill you.
Amy Harrison didn’t last long on TWD. Her death sets off a world of hurt for her sister, Andrea. They were pretty balanced together. Without Amy’s light, Andrea walked murky paths which inevitably lead to her demise as well.
After leaving Amy behind, Emma Bell appeared in Final Destination 5, and guest starred on several shows, including The CW’S Arrow. She went on to star in a few short films, the TV film Midnight Sun, and a couple indie movies. When TNT brought the revival of Dallas back for a second season, Emma came on board to play Emma Brown. A role she held through the show’s third and final season. Emma stars opposite Cynthia Nixon as the young version of Emily Dickinson in A Quiet Passion. Dating in the social media age isn’t a snap, as the characters on the go90 original show Relationship Status discover. Emma played Claire on the show, which also stars Shawn Ashmore and Molly Burnett. Earlier in June, Emma announced via Twitter that she guest starred on an episode of Rizzoli and Isles during the drama’s final season. Taking to Instagram, she’s given a couple behind-the-scene peeks as she directs the short Scratch.
As Andrea Harrison, Laurie Holden lasted a little while longer in the apocalypse than her on-screen sibling. Unfortunately, Andrea left the TWD world during the season three finale. In a striking change of pace, Laurie’s next role came in Dumb and Dumber To opposite Jim Carrey and Jeff Daniels. She went on to guest star on prime time dramas Major Crimes and Chicago Fire. Stepping behind the camera, Laurie produced The Time of Their Lives and Honeytrap. The Abolitionists documents OURrescue.org and their teams as they liberate enslaved children around the world. Laurie is a vocal human rights activist and steps in to help rescue trafficking victims in the film.
You know what? I don’t just miss the characters. The actors behind the fallen survivors are talented, caring people who get pigeon-holed into this one moment in their career. Many have gone on to do amazing things since. It’s time we took a look back at some of the show’s more memorable deceased characters and played catch-up with the actors who brought them to life.
This week, we’re reuniting with the Peletier family.
Adam Minarovich played abusive Ed Peletier opposite Melissa McBride’s meek season one version of Carol. Since his character was eaten in a tent at the quarry campsite, he’s gone on to guest star on Banshee, One Tree Hill, Rectify, and Gang Related. Not only does he have a strong on-screen presence, Adam has written several short film scripts, co-wrote Remnants which stars Tom Sizemore, and penned Pawn Shop Chronicles starring fellow TWD star Norman Reedus along with Paul Walker and Elijah Wood. Adam also has roles in these films, proving his never-tiring spirit. A spirit he’s taken on the road to appear at horror/comic conventions and meet fans.
We all wept when Sophie Peletier shuffled from the Greene family’s barn during the second season’s mid-season finale. Madison Lintz brought youthful light to a dark, dreary show. When her character was turned zombie, it’d take a few seasons to find another actor capable of bringing the same energy. After her final send-off, Madison filmed After as the younger version of the lead character Ana. She was also in Parental Guidance with Billy Crystal and Bette Middler and appeared on an episode of Nashville. School took precedence for a little while. Then she landed a role as Maddie, daughter to the namesake on Amazon’s original show Bosch, which was just picked up for a third season. During downtime from filming the show, she starred in Tell Me Your Name, a horror film with a demonic twist. Madison occasionally travels the country to appear at conventions, but remains focused on finishing school.
Next week, we take a look at the women behind ill-fated sisters, Amy and Andrea.
Even fans who’ve been upbeat and optimistic got to the last thirty seconds in the finale and probably had a similar reaction to what exploded from my mouth. No, I can’t repeat it. We’re a family-friendly site. It’s so frustrating seeing a glimmer of what they can do with this story line, but realizing it’s too late. The damage is done. Negan’s introduction should’ve come in episode 608, no later than that. Heck, I may have even accepted this ill-advised cliffhanger if it were the mid-season finale. However, after sixteen episodes of virtually nothing, they cannot dangle the Biggest Scariest Bad Guy in front of us and not give any resolution. Yes, death can be a resolution. The group needed to be brought fully into the New World Order. The only way to do that is for one person to die. That’s the deal they’ve been told all along. Each time someone mentions the Saviors taking over, it’s accompanied by a mandatory death to make a point, or in this case get even for a lot of dead guys. Imagine Lord of the Rings ending with Gollum tackling Frodo. Is the ring destroyed? Does Sauron get a clue and regain his property? Every writer knows there has to be resolution to the plot, even if it’s just to wrap up part of what’s going on.
What’s the point of spending all this time and effort to film Negan’s cat and mouse game if the bad guy isn’t really all that bad? Don’t get me wrong, Jeffrey Dean Morgan is better than anticipated as Negan. He blew me away with one smile and, “Pissing your pants yet?” I could not be more pleased with where the show is going in terms of a quality antagonist. Well, an antagonist besides Rick’s massive ego.
Negan stole the show, hands down. He wasn’t the only one delivering a stellar performance despite a script lacking any real depth. Everyone gave it their all. I understand why so many were weary after, but where’s the vomit-inducing portions? The most shocking thing is the hanging, really. Hysterically, they shot that in full detail, yet kept the ever-promised major death a cliffhanger. And while, yes, it has an impact, there’s nothing personally at stake for the characters until they’re shot at and run. Much like the ending; we came into the finale expecting to put any character’s life at stake and came out with no one immediately in danger. There’s six months to shrug it off. Where if they’d given us a death, it’d be six months wondering how they’ll survive without so-and-so.
I’m at the point where I find fun where I can with the show before I lose my mind. Honestly? Negan is fun and I want to see where he’ll go.
Melissa McBride as Carol Peletier; Walker – The Walking Dead – Season 6, Episode 16 – Photo Credit: Gene Page/AMC
It’s irritating that it’s no longer enjoyable to watch the people we’ve grown to love or love-to-hate for six seasons. Carol has been a favorite character since the get-go, but when her life was seconds from ending, I didn’t care. The writing changed her so much, the character begging for death wasn’t the one I’d invested my fan-love into. The best part of her story arc is Morgan killing for her after she warned him that caring will always lead to doing anything to keep them alive. Again, it’s a long, drawn-out arc for a twenty–second payoff.
So here we are, waiting to find out who bites the big one and none of us are happy about it. The TWD team are scrambling to defend their decision. You know what? I’m not even going to bother reading their excuses. That’s what it is now, nothing but excuses. They got too comfortable being on the pedestal. When it came time to put Lucille to work, they didn’t have the guts to push their boundaries, lest they fall. It backfired. How many fans will stay with season seven after the premiere? I have a feeling most will watch to find out who died and move on to bloodier pastures.
Yup, you guessed it. There’s spoilers in this review. I highly suggest you watch before reading.
Last week I mistakenly labeled episode 214 as the penultimate, when this week’s episode is the one leading into the now-inflated finale. My bad. In my defense, these last few episodes blurred together with nothing truly standing out until the last fifteen seconds in this episode. That gunshot is the only reason fans are hanging in to see the finale. They don’t care about this boogeyman we’re promised. They’ve bitten the Daryl-is-in-danger bait and swallowed the hook.
How did we get to a point where the most reliable defender for Alexandria winds up with an enemy bullet in him? I don’t even know. A lot of the logic they have Daryl working on right now doesn’t fit the Daryl we’ve known since he first calmed his roll and became a team player. Yes, people regress when stressed, but for him to completely snap and spiral in this guilt loop is whoa, wait, what? He’s a better man than the one they needed in order to lure so many valued fighters into the middle of nowhere. Yet again, they’re relying on the revenge trope to undermine character growth and create bad situations. Even Rosita gets sucked into Daryl’s mindset. Not that Glenn and Michonne fare much better after leaving the two to hunt Dwight and his gang. They’re surrounded and used as, yup you guessed it, bait. Snap. Reel. Toss the catch into the ice chest. Well, not yet. We know Daryl was shot, but not the severity of the wound. I’m gonna guess it didn’t tickle, though.
So that’s four fighters out of the way. Five including Carol, who snuck out during shift changes early in the morning with a fully-loaded go bag and a coat with some interesting modifications—which I totally want should the undead hit the fan at some point. They want Carol to seem traumatized, on the brink, but she’s premeditating pretty much everything that’s happened in the hours after burying Denise. An insane person would not take the time to cook herself that much food, let alone pack enough gear for a few weeks and sew a friggen gun into her coat sleeve. It’s like they don’t know who the character is anymore. Oh, wait. I’ve said the same thing since they set her on the Morgan witch hunt. A hunt which is flipped on its ear with Morgan and Rick awkwardly buddy copping it through the countryside looking for Carol. An homage to Rick and Shane’s fight way back in season two? Possibly, but the whole mistrusting Morgan story line is so convoluted, their discussion has no impact other than, “Duh, we know that’s how Rick thinks now.” It’s not a surprise he thinks Carol’s murders at the prison were justified. He just sanctioned widespread murder to wipe out the Saviors. Nor is it a surprise Morgan feels this is a poor plan. Killing leads to killing. Morgan saved a man, who saved a woman, who saved Carl’s life. Which is the preferred outcome? This is something they’ll never agree on. Matter of fact, things between the men are downright tense after they follow the blood trail to a barn and a man just looking for a horse. Rick assumes the armored man is a Savior or fled from Hilltop and wants to shoot him—ignoring the encroaching walkers. Morgan sabotages the shot. There’s some eye daggers before they continue the hunt for Carol, any surviving Saviors, and the Horse Guy—who may or may not be a hint to another comic book tie-in. We never find out what happens after Carol leaves the road where she killed a handful of saviors.
We have seven fighters incapacitated thanks to Daryl’s revenge scheme, Morgan chasing Carol, and Maggie’s sudden complications from the kidnapping. Seven of their best fighters just happen to be out of town the episode before the Big Bad huffs, puffs, and blows their gates in. Why stack the deck against the protagonists this way? Oh, right? They have no tension left for Negan’s arrival. All they can do is make overwhelming odds for the characters and hope it’s enough to make fans ask questions on social media, driving up word of mouth advertisement and allowing them to repost the few good things fans say or ask in order to convince everyone their poor plotting for season six was worth it in the end. Going into next week, I’m convinced they’ve lost the love of story and are simply milking the cash cow until they can switch beasts and attempt to get milk from the shriveled dugs Fear the Walking Dead sported throughout its freshman season. Basically, they have no writing integrity because they got too comfortable being the best in their genre and stopped trying to do new things. Rehashing old ideas and generalized plots is nothing new or surprising. We did most of this before with The Governor. Honestly? I get more enjoyment from just about every other post-apocalyptic show than what the Walking Dead franchise has offered in three years.
You guys remember Evil Dead, Evil Dead II, and Army of Darkness, right? If not, please educate yourself on some of the most hilarious cinema featuring murderous corpses. Well, some of them were corpses. Others were possessed. Either way, the Deadites are a force to be reckoned with.
Ash, our debonair hero, thought he’d put those suckers to bed thirty years ago. Flash-forward to present-day. He’s fat, hiding it with the most ridiculous girdle worn by man, and hornier than a chihuahua on Viagra. The opening sequence for the series is literally everything diehard Evil Dead fans want to reintroduce Ash. At the drop of a woman’s undergarments, he’s able to get laid—his sole goal in life, it seems. The mood is soured when his for-now lover’s face morphs into a Deadite. Hard to keep going after that, huh?
But why is Ash seeing Deadites at every turn? Well, see, he wanted to get laid by the blonde artsy woman with words tattooed around her wrists not long before the show’s timeline starts. StonedAsh managed to focus through the haze long enough to grab the nearest book—the Necronomicon. Whoops. So they read from the friggen book, of course, and here we are, smack in the middle of Deadite Country.
Elsewhere, two State Police officers are dragged into Ash’s mess when they’re called to a domestic dispute. Only, the house is abandoned. People had been there, judging from the table-load of drugs and booze left behind. Oh and the corpse crouched in a corner, hands still raised to fend off whatever scared her to death, could be a clue. I don’t know. I wasn’t a cop before turning undead.
Amanda Fisher and her partner, Carson, find one other person in the house—Ash’s blonde date who read from the book. You know where this is going, right? Fight time. Blondie cranks her head around 180* and dislocates her shoulders before launching at Carson. Amanda takes some wicked-huge scissors to the hand. Then things get really out of hand, ending with Carson and the blonde woman without heads. That escalated quickly. Later in the episode, we learn that Amanda is out on leave pending an investigation into the shooting and a psyche evaluation, because how many people say their partner went crawling on the ceiling before attacking them? A kind, and kinda hot, stranger—played by Lucy Lawless—more or less tells Amanda she’s not nuts. A fact Amanda confirms by going back to the crime scene, where she finds Carson’s shirt fibers on the chandelier.
Over at ValueStop, Ash attempts to swindle Mr. Roper out of his paycheck and possibly, maybe, forgetting Ash is supposed to work that day so Ash can run like a scared rabbit into the sunset before the Deadites find him. But first, he has to make a fool of himself in front of the new woman Pablo brought in to work with them. Hello, Kelly. I like your lack of accepting misogynistic nonsense and skill with a wrist lock. That’s how you introduce a female character, ladies and gentlemen. Take note.
Ash’s plans to bolt come too late. The Deadites are on his trail. In a scene calling back to Army of Darkness with the army of MiniAshs, he fights a possessed doll, only to be saved by clueless Pablo. Well, not totally clueless. Pablo’s brujo uncle warned about a man who would be the only one capable of defeating the evil dead, El Jefe. Putting two-and-two together, Pablo figures out Ash is that guy. Cool. They’re saved. Except Ash still wants nothing to do with the hero biz. He’s out of that game. Paid the ultimate price.
They’re only hope gone, Kelly and Pablo don’t know what to do next as things get weirder around the store. Kelly receives a video call from her father, with guest star—her undead mother! Off to save Mr. Maxwell. But first, a pit stop.
For a man living in a trailer, it sure is taking Ash a long time to skedaddle. He’s gotta think about Eli, man. Poor bearded dragon didn’t ask for any of this. He just wants to chill and eat. But it’s a good thing Ash is so ill-prepared to leave. Pablo’s pit stop requires the man himself to fight Kelly’s Deadite mother. Yeah, Ash isn’t on board with that plan, either. He doesn’t get much of a choice. The Deadites are in the trailer park, changing his weird, yet kind neighbors into joke-cracking killers. One grabs Kelly, strangling her through the trailer’s window.
He’s always been a sucker for a woman in need. Ash flings an ax at the Deadite, severing its arm. The trailer starts rocking—and not for any goodtime reasons. Cue the quick change into GoodAsh. Admit it, you all swooned when you saw the blue shirt. Bonus badassery, a foot-trigger, spring-loaded shotgun storage compartment in the trailer’s floor. I want one of those. But Ash loses a point for admitting he needs to do cardio.
There’s one more Deadite fight, this time with sweet as cream Vivian. She’s silly enough to stand between Ash and . . . wait for it . . . are you sure you’re ready? The chainsaw. They knock each other all over the trailer. Ash ends up, yup, on the ground. Pablo is pinned to the wall with a knife in his right shoulder, leaving Kelly to fend for herself against something she’s never seen before. Her bravery flees, though she manages to hold DeadViv at bay just long enough. For what? For the most awesome moment in the show. Pablo flings the chainsaw to Ash using his foot. Angels sing. The engine revvs. DeadViv is so excited her head just flies off.
Of Wolves and Men Review of “The Walking Dead” 516 – “Conquer”
Let’s get the messy part out of the way—this episode didn’t warrant an extra twenty minutes of screen time. All it did was give producers a chance to dump all the plot threads into a pool and pray it all untangles in the end. They should’ve refined the story into something a little more cohesive that fits the normal forty-two minutes per episode. Every plot element was unnecessarily drawn out. It’d be different if the time was spent on much-needed character development or laying down a solid base for next season. It wasn’t. They flung everything off the table and fans are supposed to be happy with how the story lands until October. As far as finales go, this is The Walking Dead‘s weakest. So what did happen in the finale? Let’s discuss.
You know the drill, there’s spoilers from here on out in this review.
After weeks wondering why Morgan was brought back during a couple quick scenes, we finally get an answer. Kinda. It’s entirely possible, given the state of things in Alexandria by the end of the episode, that Morgan will fill the long-empty “morality of the group” position. A role desperately needed since Hershel’s murder. We were led to believe Gabriel would fill the need, but he’s loonier than a monkey in rubber pants. Morgan isn’t a pushover. When he’s confronted by the men who’ve been mutilating the walkers around Alexandria, he attempts a passive resolution. It doesn’t work, so he thunks them over the head and locks them in the car he’d used as a hotel room the night before. Later, Morgan bails Daryl and Aaron out of a tight spot—they unwittingly walk into a trap set by the same men who attacked Morgan. These men, wolves they consider themselves, could be the big bad for next season. Honestly, they don’t feel too threatening now that Daryl, Aaron, and Morgan know where they are hiding their zombie collection. What kind of weirdo keeps a zombie collection, anyway? (Zombie bunnies don’t count, guys.)
The entire time Rick and company have been in Alexandria, it’s felt like he and Michonne are growing apart. She wanted to find home so bad and he’s fought it tooth-and-nail since meeting the townsfolk. It’s not until Rick wakes in a makeshift holding cell with Michonne watching over him that they finally understand—they want the same thing and are going about it completely different ways. She doesn’t care if he conspired with Daryl and Carol to secure emergency weapons. She’s willing to look the other way while Carol coaches Rick on how to Play The Part—tell Deanna and her followers exactly what they want to hear, just like Carol has done since they arrived. Michonne has overlooked and forgiven a lot in the name of keeping their newfound home. Being a pushover won’t work, she knows it. However, she also understands in order to get what they all want, someone and something’s got to give. Michonne is the law alongside Rick. She can’t run off like Carol, threatening to murder anyone in the way—a message Pete got loud and clear in this episode. Michonne tells Rick, “We don’t need (guns) here. I don’t need my sword. I think you can find a way—we—can find a way. And if we don’t, I’m still with you.” So even though he’s been a paranoid nutjob for weeks, one of his most capable allies is still at his side. How much is Michonne willing to overlook and forgive in her quest for normalcy, though?
Tensions are riding high between everyone, not just the town’s peacekeepers. Toward the end of the episode, there’s a huge clash between Sasha and Gabriel—the crew’s most unhinged members. Sasha spent her afternoon laying in a mass walker grave, wondering what’s wrong with her. Gabriel spent his strolling around, looking for a walker to do what he can’t—end his life. At the moment of truth, he kills the walker. It’s actually one of the best kills in an episode filled with walker deaths. But when Gabriel and his inability to commit to death and Sasha with her equally large death wish are in the same room, the claws come out. “I think I want to die,” Sasha tells Gabriel. He replies, “Why wouldn’t you want to die? You don’t deserve to be here. What you did can never be undone. The dead don’t chose, but the choices you made, how you sacrificed your own . . . .” He goes on, blaming Sasha for Bob’s death, saying Tyreese deserved his death because of what she’d done. Most of what he says is directed at himself, not her. It doesn’t stop Gabriel from attacking Sasha. In the end, Maggie pulls them apart and sits them down to pray.
Another tense duo come to blows in the midst of the big, “What do we do with Rick” problem. Nicholas lures Glenn over Alexandria’s walls and shoots him in the shoulder. The wound isn’t fatal. Throughout the middle and end of the episode, Glenn and Nicholas take turns beating the snot out of each other and the walkers drawn their way by the noise. It ends with Glenn pinning Nicholas to the ground, a gun pointed at his head. Nicholas begs, crying. Glenn visibly wants to kill him. Is psyching himself out for the kill, telling Nicholas repeatedly to shut up. He doesn’t do it. Should he have? Not in this instance. Nicholas is a coward. He made his attempt to rid himself of the one man who knows just how much of a coward he is. Now that the plan has failed, I’m sure he’ll back down. He may even become Glenn’s new sidekick.
The town meeting to discuss Rick’s attack on Pete, the gun he’d hidden, and the threats made after the fight is doomed from the get-go. Deanna’s motivations aren’t without bias. It’s obvious she wants Rick gone. He’s a thorn in her side and constantly questions how she’s run things since the settlement was created. She doesn’t even wait to see if Rick will show up to the meeting that’ll decide his fate—which he won’t, seeing as Gabriel let a zombie into Alexandria after failing to secure the gate and he’s tracking it while his crew stands up for him. All those kind words from Michonne, Carol, Maggie—and let’s not forget Abraham’s eloquent offering—they’re for naught. Once Rick walks in with a dead zombie over his shoulder, it’s pretty much sealed. Instead of rushing to save his own hide, Rick hunted a walker on his own to ensure their safety. Not even Deanna’s admission of Gabriel’s concerns, which we heard last week, matter after Rick’s little speech.
“The ones out there, they’ll hunt us. They’ll find us. They’ll try to use us. They’ll try to kill us. But we’ll kill them. We’ll survive. I’ll show you how. You know, I was thinking . . . I was thinking, how many of you do I have to kill to save your lives? But I’m not gonna do that. You’re gonna change.”
Rick’s place in Alexandria is cemented when Pete comes into the meeting fully prepared to kill Rick—with Michonne’s katana. Reg steps in the way to calm Pete and is killed instead. Without hesitation, Deanna gives Rick the order to put Pete down.
This is the chaos greeting Morgan after he reluctantly agrees to come back to Alexandria with Daryl and Aaron. How will the old friends get along after such a brutal reunion? Who knows? We’ve got quite some time to ponder how things will land in an evolving Alexandria.
Philly Feast Review of “Z-Nation” 103 By A. Zombie
This episode is all about Cassandra’s past. Or is she Sunshine? Whatever name she goes by, her past isn’t easy to stomach.
First, let’s once again ponder why Citizen Z is necessary to the plot . . . . Done trying to come up with something viable? Essentially this character’s sole purpose is to be a long-distance safety net. Only the best he can do to actually provide aid is play music. There’s still no contact with the scientists the group is supposed to take Murphy to in California. Sure, one could argue that Citizen Z is present to demonstrate what isolation can do to a person. However, the writing is so bad, it’s still impossible to feel bad for this guy—who is his own worst enemy the longer he’s without human contact—when he’s pretty set for supplies and even has a dog to pal around with. A dog who eats better than I do.
The group ends up in Philadelphia on their trek toward California. They find the Liberty Bell strapped to a flatbed truck and defaced with graffiti. What are they to do to preserve this chunk of American history? Steal the truck and crash it two blocks down the road. How the hell do these people expect to make it anywhere if they keep killing cars at this rate? At this point, it’s questionable how they can realistically survive in the apocalypse. There’s a lot of TSTL—Too Stupid Too Live—behavior within the crew.
On the outskirts of town happens to be Cassandra/Sunshine’s old camp. It’s a cheery place. Led by a psychopath with an odd connection to a mute woman. For kicks they turn out the girls they bring into the camp, making them prostitutes and con artists. They’re stellar people, really. They’ll even give you the meat off their back if you’re hungry. Oh, sorry. I meant the meat off the back of the men they lure into camp with promises of easy women. It’s easy to get confused.
Of course the psychopath, Tobias, can’t let things lie when he finds out his precious Sunshine is nearby. His guys don’t come back with their target. Instead, they drag Addy back to camp and doll her up to earn her keep. Mack is furious. Warren and Garnett snap into action—threatening Cassandra until she opens up about the cult/camp she lived in before they found her. That’s always the best way to get information. Unfortunately the mystery-inducing dialog to draw out the tension before the big “They’re cannibals!” reveal consists of Cassandra repeating, “They’re worse than Zs. You don’t understand.”
I figured out the Big Secret long before the reveal. It’s not an uncommon one in post-apocalyptic stories.
The dialog in this episode is worse than the previous two, especially for Tobias and his followers. Most of the zombies in the big fight at the end move like bored teenagers. Honestly, the most believable part is when the main crew are scouting for supplies in Philadelphia and Doc has a moment remembering the internet and its special entertainment sites.
As inept as this group is, they’ll be carless and half dead by the end of episode four.