Bury Me Here: Review for The Walking Dead 713

Bury Me Here:
Review for The Walking Dead 713
by R.C. Murphy

Head’s up! This review contains episode spoilers.

Pardon me while I try to wrap my head around something. A white man is radicalized through his own apathy at a refugee camp. He suffers heart-shattering losses due in part to this. When he’s safe, he turns to leadership-approved violence to cope. When his vengeance against the Saviors is constantly put on the backburner, the man turns to terrorism, going so far as to stalk and recruit an accomplice. Turned away from his vendetta yet again, this time by a kindred spirit, he executes a dramatic suicide-by-baddie ploy to finally spread his message. When his poorly considered exit claims another life instead, he backtracks and blames everyone else, only ever taking ownership of his original cowardice at the camp where his wife perished in a fire. Despite the method of his murder, this man dies thinking he’s a martyr. His end at the hands of a man half a sneeze from Full Crazy is pathetic, really. What was Richard ever going to add to the community? He came in ready to go out with a bang. A glory hog to make up for past sins. His death delivers a message: Terrorism hurts those who are given the dubious position of profiting from destruction with no consideration for civilian safety. How much effort does it take to stop and ask yourself, “How many people will die because of what I’m going to do?”

Okay, I think I’ve got it now. I understand. The writers weren’t happy just making a point, but they yet again proved said point with the tried and true white martyr story. The story line pushed the tension a little, mostly because fans were waiting for Richard to die, and motivated exactly one person to take up arms against the enemy. I wasn’t sure who’d end Richard’s woe-is-me festival. It was a tie between Morgan, Ezekiel, Gavin and co., or Carol should she catch wind of his intent to drop The Kingdom in the middle of the war without any time to prepare. Trying to guess gave me about a minute of enjoyment. Then the writers blew the surprise with foreshadowing when they took this as their golden ticket to trigger Morgan—adding an “unpredictable” element to liven things up, I presume.

Now we’re down a fighter and the Saviors have word that mutiny has been on The Kingdom’s mind. Thanks, Richard. Your legacy thus far is astounding.

Morgan is pretty much useless now, except for clearing the undead from around the community’s perimeter. That puts the burden of caring on Carol’s shoulders once more. She knows the truth at last, even if asking requires her to examine why she turned her back on humanity. Kudos to the writers for passing on clunky dialog in favor of allowing McBride to just react during two character-changing conversations—the first changed how she sees herself living in the mad world, the second demolishes the emotional barriers holding her back from engaging in battle. The minute she suspects her people suffered, she straps on her badass cap and goes to get answers she knows will break her heart. And they do. McBride’s genius is in her eyes as Morgan lays out what happened in Alexandria since their departure. Without much to-do, she delivers a gut-twisting performance. It’s probably one of my favorite acting moments in the series from the last three seasons, despite the tears it inspired.

Richard the Coward shoved the Kingdom into the warpath, whether Ezekiel thinks they’re ready to defend the front lines and the home front simultaneously or not. Morgan went ’round the bend again and can’t stop killing walkers. To clean up the mess, Carol’s coming out of violence retirement. It shouldn’t come down to one woman to smack sense into everyone, but since we’re here, I’m glad Carol is that woman. The Kingdom is being dragged into a mess they want nothing to do with. How will the average citizen react to the news?

Next week, Hilltop is likewise forced to choose their side in the war. Can they kill off Gregory as their sacrifice to the war gods, like the Kingdom did with Richard? His misogyny is tired and boring. We need to move on to more productive narratives, not the same ol’ men-holding-women-back bull, if this show is to get anywhere during the last three episodes in the season.


Say Yes: Review for The Walking Dead 712

Say Yes:
Review for The Walking Dead 712
by R.C. Murphy

Warning: Episode Spoilers Below.

Just when one thinks they’ve finally picked up speed, everything grinds to a halt so Rick can get in bed with a freaky gun-obsessed cult . . . oh, and Michonne, of course. Skip the pre-credits scene. It’s pretty much just sex cut with clips with them grabbing supplies. Has there been this much sex on-screen since the Lori/Shane era? Why now? It’s not the action-break fans need to deal with the lack-of-momentum in the plot. I got more enjoyment from the couple’s silly moments than the intimate scenes. Laughter leaves them more vulnerable than sex—they weren’t attacked mid-coitus, they fell through the roof during a light-hearted scouting mission. TWD writers are desperate to make Richonne work. Like Gretchen’s quest for Fetch, it’s just not happening. Do I hate the idea of their relationship? No. That being said, the writers spend so much time forcing them into “couple situations” that the characters never mature in their affection organically. I just don’t see love there. I see a gimmick.

We know they hump and grab gear, but really the main goal for the mission is guns. Which they find by funny happenstance while chasing a deer they spotted near camp. There’s a large compound not far from their van and they missed it. Huh. Anyway, they find a fenced-off building, which may have been military, along with a carnival. Uhh, okay. Sure. Stranger things have happened—like Alexandria’s scouts and the entirety of the Saviors magically missing a dump covering several square miles with twenty or thirty foot tall rubbish piles. The episode’s point is, Rick gets guns dropped in his lap. They do have to work for it. Kinda. There’s a lot of things magically going right for them that make the effort laughable. All-in-all, they kill a few dozen walkers, grab a van-load of food and guns, then take off to fulfill the new deal. There’s one moment where Michonne fully believes Rick, not the random deer, is zombie lunch. As always, it’s a death tease. When the moment is rehashed later to get the feels out, Rick babbles about them all being on a suicide mission to save the future. Why don’t I see these two in a relationship? When Michonne admits the depth of her love, Rick deflects and focuses on his self-appointed savior gig.

Meanwhile in Alexandria, Rosita has a series of self-important hissy fits. The tantrum culminates with Rosita stealing a rifle and convincing Sasha to go on a suicide mission of their own. Why don’t fans have many favorite characters outside the original quarry crew? Because the rest come on the stage with one foot already in the grave. Everyone has that same death wish mentality. Sasha has been there, done that. Do we need her to be the flaming moron agreeing to aid Rosita just because they slept with the same man? Nah. Women don’t work that way. Besides, Sasha matured from her death-beckoning days. Matter of fact, if she wanted, she could lead Hilltop—in part with Maggie, or on her onesies. The point is, Sasha still has potential. Rosita hasn’t shown the same kind of potential since she became the Angry Spurned Woman in the community. Anger is one-dimensional when used as the backbone for building a character. Pigeonhole someone in that stereotype too long and they just take up space in the plot. It may be time to say goodbye to Rosita. I just hope she doesn’t take Sasha out with her.

Jadis and her people . . . already over it. She and Rick haggle over the gun delivery—it’s not enough to arm her large group. Let’s be honest, this whole story line exists to enable Rick’s wanderlust and suicidal tendencies. If this all actually leads to genuine war with the Saviors, I’ll be surprised. More importantly, if the Jadis deal goes as planned at all, it’d be a miracle. I have zero faith in Rick’s judgement calls.

In the next episode, Carol jumps back in the fight. Maybe she can put some oomph back in the show.


Hostiles and Calamities: Review for The Walking Dead 711

Hostiles and Calamities:
Review for The Walking Dead 711
by R.C. Murphy

Whoa, speed demon. Before you read on, know this review contains episode spoilers. Now you may proceed.

Eugene isn’t the only story here. We’ve got two men making important decisions over the blessedly average-length episode. See, guys, they can indeed pack some decent story into forty-something minutes.

While Eugene finds his footing in the primary Saviors compound, Dwight has the rug yanked from under him. It’s not hard to connect the dots—Sherry freed Daryl, then ran away, and her ex-husband is the only one on-site to take the brunt of Negan’s anger. Unlike Daryl, it takes Dwight one night in the closet to get his Negan on, promising to hunt down his ex for the Big Man. That’s when things actually get good. Dwight never finds Sherry. He visits their old house and finds a note explaining why she did what she did, and why she is gone for good—likely already dead, given her lack of survival skills outside the ability to manipulate men. We’ve known for a while that Dwight isn’t a complete pile of rubbish. He fought to keep his sister-in-law healthy, only giving up in order to save Sherry once her sister passed and there was no need to keep the stolen insulin. For some, it is better to reside in the arms of the devil promising an easy life instead of struggling through a desert to reach the angels in a far-off, peaceful land. The price for that stunt was pain, originally. Now Negan cost Dwight the company of his still-loved wife, who was sole supplier of the meager good moments Dwight can hold onto with his memory problems.

Side note: Any time a disorder like this is handled with tact and care, a fairy gets its wings. This is not one of those instances. Sure, her letter was meant to sound heartfelt, but it fell short. Sherry mentions Dwight’s problem as her last manipulation tactic. It’s pretty crappy to gaslight a guy on your way off the mortal coil by stating you hope his mental disorder warps his sense of reality so he can cope with working under a monster.

Fortunately, it lights a fire under Dwight instead. From here on out, this is the guy to watch. He wastes no time in securing his place at Negan’s side by offering up a stress release tied to Daryl’s release—likely spurred by the afore-mentioned memory problem and that ever-present sense of doom. Hope no one was fond of top Negan toadie Dr. Carson. Poor guy catches the wrong end of a bad mood after Dwight plants enough evidence to convict him in the Court of Negan for the grave crime of freeing Daryl.

Eugene absorbs many, many important lessons in the episode, but none as important as what they all learned during Dr. Carson’s final moments—make yourself irreplaceable. There’s never been a place for Eugene in the world. He lied to Abraham to secure a spot in a vehicle headed anywhere safe, and perpetuated said lie for the sole purpose of garnering favor with Rick’s group. After the truth came out, everyone fell back on the notion that he doesn’t get respect because he’s weird, book smart, and lied to his best friends. The writers were good with leaving him there, wallowing in his omeganess until they needed a permanent outsider’s point-of-view in the Saviors’ camp. Who’s completely disposable? Eugene. Who’s most likely to piss off fans by falling in line with the bad guy? Eugene. He was set up to turn teams back when they reached Alexandria, guys. This is some long-game stuff going on in the writing room which could’ve resolved so much sooner to really shake up the show. Fans deserve more than Rick’s lame war-making attempts.

Over the hour, Eugene morphs from a pickle-jar clutching coward to a video game junkie with his finger on the Saviors’ pulse. Probably, maybe literally since the doctor died. How’s that? Eugene is not a doctor, you say? He was once upon a time, remember? The Lie is in play again. Will Eugene stumble and expose the truth? So far he’s pretty sturdy on his feet, dodging one attempt to use his kind heart to do harm. The wives thought the new guy would help poison Negan. They grossly underestimated a frightened man’s ability to figure out any plot which may endanger his safe place in the world. For so long as it is necessary, Eugene is Negan.

Look at all that character work! Look at it! There’s no lame zombie gimmick undermining the story. No grandiose ego-driven statement negated efforts from primary characters—Rick’s assurance he’d get his new fighters completely ignored the fact that Michonne’s ingenuity saved Rick in the pit and there’d be no army without her. The characters in episode 711 act, react, and plot their future in wholly believable ways. How is it they captured Dwight and Eugene’s struggle, but the Rick story line constantly fails to deliver? Next week’s preview looks like more of the same half-thought Rick antics, too. I’d rather spend more time watching Dwight work to screw up the Saviors from the inside out, honestly. I’m way, way over Rick’s suicidal war-mongering mission.


New Best Friends: Review for The Walking Dead 710

New Best Friends:
Review for The Walking Dead 710
by R.C. Murphy

Warning!!! This review contains episode spoilers.

The plot jumps across most of the main cast, yet gets very little accomplished other than confirming there’s a load of egotistic white men about to sacrifice civilians for a war none of them can win without God Himself putting His large foot down in the middle of the standoff. But this is television. God is the production team, and God’s footprints are all over this season, trampling any actual character motivation, and writing short-cuts to what They think are the “cool” story bits. In doing so, the writers lean heavily on character tropes they wove into a few men and it comes off really . . . bonkers. Like, shooting up a pizza parlor after buying into a bit of obviously false propaganda bonkers. Feel me?

But first, what’s up with the weirdos in the junkyard?

Let’s dig into Rick’s time with Jadis and her crew of near-identical and eerily silent folks. The language thing grated on my nerves. I know it has a point, to show that the group has been isolated for so long they’ve formed their own version of American English, but the heavy-handed use of their particular vernacular meant I had to watch the episode twice to fully comprehend Jadis’ explanation on how she came upon Gabriel and the items stolen from first the boat, then Alexandria. Even then, none of that truly mattered because Rick went into the junkyard ordeal knowing he’d win. His conversation with Gabriel after successfully negotiating with Jadis sucked the air from the plot and inflated his head. Rick was never ever in danger. He scoots through it with an impaled hand and an ally. Again. This guy can’t even make sure his son stays in the same county as their home, but somehow always manages to convince people he’s a magician capable of pulling miracles from his backside. Rick makes a ton of promises he can’t follow through with, all while sacrificing even more of the community’s food and keeping their strongest people from securing enough supplies so they can actually prepare for winter. Seasons are still a thing, and when one relies on the land to provide literally everything, gathering fresh produce to preserve is the difference between seeing Spring blossoms and eating your neighbor to keep your children’s hunger pangs at bay. But these are things which are never really addressed. No one is panicked about the missing food, nor the fact that the nearby area has been picked clean and there’s little to no fuel left to waste driving aimlessly. But Rick made new friends by wrestling a zombie, so it’s all okay. Little Timmy can just put the last of the BBQ sauce on his Auntie for Christmas dinner.

Plus, GoT did the “hero fighting a beast in a pit” thing way better.

The other problematic man hits a far different nail on the head—the white terrorist. Richard spots a kindred soul in Daryl almost immediately. They waste no time getting cozy over talk of bows and arrows. Then they march into Richard’s trailer, which is covered in guns and homemade incendiary devices, and its gets creepy. Here’s two hair-triggered white guys holed up in a secret location, armed to the teeth, and planning an attack. Sure, Daryl didn’t know Carol was the intended sacrifice, but that he went along with Richard’s hair-brained scheme at all is pretty scary. His moral code is so loose, free-range terror, no matter the intended target, doesn’t make him think about consequences. It’s not until the writers invoke the sacred Caryl maybe-‘ship that Daryl considers someone other than himself and the guilt from the wrong he committed through Negan’s baseball bat. And, really, if our hero needs a woman involved in order to do the right thing, he’s not a real hero. Richard, on the other hand, is a much more serious problem. In this episode he goes from lone wolf gunman, to luring in an accomplice, and by the time Daryl is done reading him the riot act for endangering Carol, he’s primed to become a suicide bomber. Daryl sees this, says the words himself which will more than likely set Richard on a suicidal path, yet allows the loose-cannon to walk away. That’s where I’ve always had an issue with Daryl, they write him as a self-centered twenty-something who can’t see past his greasy hair and hurt feelings long enough to actually protect anyone. He had every chance to stop Richard and wasted it. When Daryl does jump into action at the episode’s end, it’s by leaving The Kingdom alone. On foot. Headed to Hilltop. With a giant Negan-approved bullseye on his forehead. Because, again, he reacts and doesn’t think about consequences. Sorry, Daryl fans, but I’ve got a feeling they may be setting him up for a serious injury or death. This character literally has no future, no goals for one, and no potential to be a productive member of whatever society survives Rick’s pointless war.

Norman Reedus as Daryl Dixon, Melissa McBride as Carol Peletier – The Walking Dead _ Season 7, Episode 10 – Photo Credit: Gene Page/AMC

“But Daryl didn’t tell Carol about Glenn and Abraham, that’s not selfish!” Yes it is. It’s completely selfish for Morgan and Daryl to perpetuate this lie in order to spare her. Yes, she’s fragile. But she’s not an idiot. Death happens. It’s guaranteed when the Saviors are involved. Lying just proves they can’t step out of their safe spaces long enough to A) Admit attacking the Saviors was stupid, and B) Comfort a grieving woman. The latter proves too difficult for many television writers, so they opt for shallow, deceitful men to protect the strong woman’s emotions. Coddling Carol will accomplish nothing, except maybe getting her killed when she inevitably overacts to the situation—the writers also have no clue how to handle Carol’s complex mind, but Melissa McBride does her damndest to perform the character’s heart through a jumbled script.

Rick got new friends, but owes them weapons he cannot secure. Tara knows where weapons are, but it’d involve breaking a promise and compromising the security of countless people. Alexandria has maybe enough food for the week. Daryl is on a suicide hike to Hilltop. And Carol is probably, maybe already figuring out some of her friends are dead and about to do something ill-advised. How is this preparing for a war with Negan? It really looks more like the other communities are about to implode. Maybe the war will be won by burying him with the bodies of Rick’s people. That’d certainly be something new.


A. Zombie Reviews . . . Resident Evil: Extinction

A. Zombie Reviews . . . Resident Evil: Extinction
by A. Zombie

Rated: R (Strong Violence, Nudity)

Starring: Milla Jovovich, Oded Fehr, Ali Larter, and Iain Glen

In the franchise’s third installment, not only has Raccoon City fallen to the dead, but the T-Virus spread like wildfire, decimating the global population. Mother Earth has set to reclaiming the land, sweeping it clear with vast deserts. Few living survive, mostly as nomads. The Umbrella Corporation thrives in underground bunkers. Their scientists, led by Dr. Isaacs, work tirelessly to use clone Alice’s blood to control the dead and reclaim the surface for human kind. The woman herself? She lives off the grid, so paranoid she can’t make a friend, but still cannot resist the urge to help those in need. A convoy, led by Claire, finds themselves in need of Alice’s special skills. In return, they help her break into the home of the very people hunting her down.

There’s actually quite a bit crammed into this deceptively simple film. It handles touchy topics like Alice’s survivor’s guilt, and the ethics behind using human clones for experimentation. We see a woman, Claire, leading a large group with none of the usual male arrogance costing innocent lives because they can’t be bothered to listen to the little lady. There’s ramifications for Umbrella’s genetic meddling, demonstrated when the arrogant, rich bastards sit down to wring their hands over dwindling supplies while they’re no closer to a solution to the undead problem they created.

But there’s also quite a bit of bullcrap pushing the plot along, like magically appearing undead and male egos.

Dr. Isaacs’ demeanor is much like that weird clump of gunk one collects on their shoes after walking a mile through alleys in the seedier side of the city. There’s no professional ramification for his obsession with Alice, nor does anyone actually stop him from torturing dozens of women. It’s not until the film’s climax when Isaacs is desperate to survive after being bitten that he pays for all his sins. And it isn’t enough to make up for the nauseating male arrogance propelling the character like a shark. Umbrella itself continues on, despite losing Isaacs and his American lab. The only price they pay is the woefully low supplies in their worldwide bases. While there’s some satisfaction in the end for Alice, it’s not the solid win one expects at the end of an action film. The full blame lies with the way the franchise was written early on, forcing each film to flow nearly seamlessly into the other. A stand-alone film would have to deal with Umbrella in a more complete way. It also wouldn’t have shipped off the entire cast, save one, and never follow up. They languished in knowing they could leave an open ending, and that’s not stellar storytelling. Each entry in the series should be written as its own entity. Cliffhangers aren’t actually all that fun.

The undead in the third film were pretty sparse up until the second half. For the most part, we had human foes and infected animals going for Alice’s blood and body. The infected dogs are a personal favorite. We also learn what happens when animals ingest infected meat—the crows proved far more terrifying than their canine counterparts. The avian threat wiped out a large piece of Claire’s convoy in a scene Hitchcock would’ve watched with a grin on his face. And the human infected? Well, much like other RE films, there’s various types of human dead. This time around there’s the mundane infected, like those surrounding the fence protecting the entrance to the Umbrella base, and the Alice-enhanced infected who’re far more aggressive. Makeup applications for the mundane are standard for the franchise—great detail on the hero dead, with just as much attention spent on the background actors so the blend is natural during in-horde shots. What irritated me was when they opted to strip individual characteristics from the enhanced dead, making them all the same angry white guy zombie in a jumper. The reasoning? Stunt work. The enhanced infected swarm what’s left of Vegas during Isaacs’ grand scheme to finally grab the real Alice for testing. In order to film so many simultaneous stunts, using masks instead of fragile prosthetics saved money and time. It also allowed performers to be swapped out at will in order to achieve different physical performances. But it looks bloody awful ten years down the road on a high definition screen. The scalps jiggle. The heads are too big. Try as I might to focus on the foreground fighting, I kept watching the Jell-O headed zombies in the background.

So how does Resident Evil: Extinction compare to the genre offerings which have come since? It fails to adhere to the typical gender roles for zombie flicks, that’s a huge bonus. The plot—a savior type wanders the countryside, helping others while fighting their inner and outer demons—isn’t original, but fit so well within Alice’s story, it’s almost refreshing to escape crowded RE sets in favor of gorgeous desert landscapes. And it’s certainly an improvement over seven seasons of Rick’s people being unable to see zombies in a sparse forest. The personal interactions go deeper than some films—Alice and Carlos’ scenes in particular—without devolving into time-consuming, but not plot advancing, sex. Honestly, the film is solid. I keep trying to poke holes in it, but the problems I found were small enough to ignore. The only real thing showing its age is the trademark glossy computer graphics from the turn of the century, giving every CGI element a wet look even when it wasn’t supposed to be. I give Resident Evil: Extinction four oozing eyeballs out of five—the same rating I gave it ten years ago.


Rock in the Road: Review for The Walking Dead 709

Rock in the Road:
Review for The Walking Dead 709
by R.C. Murphy

Gregory might be a pain in the backside, but he’s spot-on when he says his people are in no shape to take on the Saviors. First, why hasn’t the coward been deposed? Second, how in the world are we honestly supposed to believe these Hilltop farmers will just up and put complete faith in the war plan? It’s not even a real plan. Rick wants vengeance. That’s his plan. The whys and hows are nowhere to be seen. But the second the group—who barely survived a handful of dead in their walls—hears that Rick’s gathering troops, they’re ready to run in front of a bullet for him? It’s not logical. That’s not how people think. Rational people who say, “Yes, I believe in your cause enough to die for it,” still need facts. How will Rick supply weapons for his army? Do they have enough food and medical supplies for the civilians, let alone an army in siege? Transport for everyone? Do the writers have any clue how war happens? I dabbled in staging historical battles for public entertainment and could probably come up with a better game plan for defeating Negan than anyone in the writer’s room at this point. Except, I’d have to backtrack to the beginning of season six to maybe, possibly establish a plot worth watching.

I do not understand how anyone thought forty-nine minutes of diplomatic discussions and two minutes of undead action was a keen way to start Rick’s war.

About that action bit, though. It’s complete rubbish. Let’s think about this like a General would. I need info on the Other Guy, so I send a scout to take a peek, record valuable information, and return within a certain timespan. Why would that scout then risk moving enough stuff around in the enemy’s backyard to draw attention to their covert mission? That’s not how espionage works. Rick should have never been that close to Negan, first of all. The scouting mission had the potential to disclose perimeter defenses, driving routes to cut off or intercept, and possibly given the war council a clue about how many Saviors Negan actually controls. Rick blew it for, what? A couple rockets for a launcher they don’t have any more and old, weather-exposed TNT? He commanded a car full of Alexandria’s strongest fighters and they’re nearly eaten like apocalypse pedestrians for Rick’s non-plan. Not only did he nearly get them all killed, but Negan now knows someone has been near their compound, and they have some of the explosives. Only an idiot would assume one pack of TNT does the same damage as over half a dozen, plus the rockets. Negan is not an idiot—unless the writers show their hand and write him that way to justify a ridiculous, pointless scene.

The point of using espionage in war is to undermine a superior power with their own information. If the bad guy knows what information you have, they can change it.

So, here’s the run-down: Hilltop says no way, but a band of brave fighters blindly sign up to fight anyway. The Kingdom, despite Rick lecturing Ezekiel like he wasn’t a dozen rungs ahead on the leadership skills ladder, respectfully steps back from the war council. Gabriel stole all their food and gear, then drove off at 3 AM. But Rick’s got dynamite, so they’re totally going to win the war. It’s a mess, run by a guy who’s blinded by ego and hate. Wait. That sounds familiar.

Oh and it looks like we’re going to meet yet another survivor group, because Rick blindly wandered into their trap.

I do have to stop before wrapping this up to point out the one shiny, kind of awesome thing the writers added during Rick’s trip to The Kingdom. Too many times, we’ve seen Rick plow on without considering those left at home to hold the fort. Ezekiel doesn’t lead from the front lines like Rick; he’s home caring for the people who gave everything to keep his people safe and happy. He spends time with the fighters who’ve suffered great physical and mental trauma. There’s not a moment when he’s amongst his people that the evidence and truth about war doesn’t scream for attention. The injured aren’t sequestered in a hospital or clinic, though. Once they heal, they’re absorbed back into society and given a way to help others—in this particular scene, two amputees appear to teach archery with not one instant wasted on making them appear weaker or more inept than Rick’s crew. To see the sensitivity with which they handled this touchy social issue is, frankly, surprising. The writers chickened out over the chance to treat lesbians on equal footing as straight couples or the token gay couple, opting for death over character development requiring a smidge of emotional growth on their part. Not to mention, the gay couple is constantly separated, leaving tender moments between them too few to fully believe they’re a couple. We also have the ever-present singular black man issue, as well—who can honestly say it’s not problematic when the writers treat characters from one particular race as a Highlander-type scenario. It’s pretty much guaranteed that the show will literally collapse and form a black hole if there’s another Asian brought on as a lead character. And we’ll just pretend I had a five-thousand word rant over Rick blithely passing his parenting duties to complete strangers while constantly putting himself and their home in danger. While the writers get a gold star for treating the disabled as real people, they’ve got a long way to go on so many other issues.

The second half of the season is not delivering as promised. The mid-season premiere is so underwhelming, die-hard fans could read a paragraph synopsis and not feel cheated out of fifty minutes. Honestly, guys, just jump to the moment Rick and Michonne hop in the cars on the freeway. That’s all the showrunners paid attention to, so why not follow their lead? Next week better have more plot. Stringing along the fans by putting minimal effort into the story while buying new houses with the profits is a crappy way to keep a fanbase.


Into The Unknown, Vol. 3

Into The Unknown, Vol. 3
by R.C. Murphy

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.

The patients and police inside Grady Memorial Hospital were never that endearing. They held onto a backwards work-for-safety program which enslaved countless people whose only downfall was the ill fortune to get sick or injured. While not every officer involved in the scheme was cold-hearted, they weren’t winning any humanitarian awards. This was a warning shot, a preview of what would come during the Negan era on a far larger scale. But did the hospital’s residents find as much success once their standing power structure crumbled seconds before Rick and company left them to own Atlanta? Sure, Amanda stepped up to present herself as a voice of reason. That doesn’t mean anyone let her take charge. They’d tasted power. Giving it up wouldn’t be easy. Luckily for Amanda, the officers who posed the deepest threat magically caught a case of dead. The flipside is, they lost half their fighting force and the patients don’t seem nearly as eager to strap on a bullet-proof vest and fight the undead as their deceased overlords. Holding the hospital would be hard, especially after all the human foot traffic drew walkers closer and closer. Given their resources, the best bet would be to stabilize the still-ill patients and begin moving to a smaller, more manageable safe haven. They had vehicles at the ready—one such car ran over Carol. All they had to do was find a building which hadn’t been blown to hell by the US government. Barring a surprise mutiny, Amanda would have been able to move her people to a safer building, while continuing to provide the only medical services within a hundred miles or more.

Teri Wyble proved to be the stand-out star hidden amongst the tough-as-nails Atlanta police officers throughout the Beth-kidnapping saga. We had a sense of who Rick was dealing with through their interactions with Beth, Noah, and the other patients, but Teri’s bone-chilling performance during the scene where they discuss how to use Amanda and Licari to get Carol and Beth is what sold the real threat behind Dawn’s regime. Since waving goodbye to the run-down hospital, Teri joined Powers for its second season as Nicole Glantz—a persistent investigative journalist for PTB News. She has also appeared on Zoo, and the military mini-series Six on the History Channel. In 2015 Teri joined Arnold Schwarzenegger and Emilia Clarke in Terminator Genisys. The following year she was in the Tom Cruise action flick Jack Reacher: Never Go Back. Her next project is Shock and Awe, also starring Milla Jovovich, Jessica Biel, and Woody Harrelson.

Sonequa Martin-Green as Sasha, Tyler James Williams as Noah, Chad Coleman as Tyreese, Christopher Matthew Cook as Officer Licari and Teri Wyble as Officer Shepherd – The Walking Dead _ Season 5, Episode 8 – Photo Credit: Gene Page/AMC

As probably the only practicing doctor in a hundred miles, Steven Edwards had the weight of the world on his shoulders. Bringing such an overwhelmed but cool headed character to life fell to the talents of Erik Jensen. Once his time TWD time ended, Jensen appeared on Major Crimes, The Blacklist, TURN: Washington’s Spies, Chicago P.D., and High Maintenance. Mr. Robot fans will recognize Jensen from his recurring role as conspiracy theorist and talk show host Frank Cody. Early 2017, Jensen appeared in Police State with Sean Young and fellow TWD alum Seth Gilliam. When not in front of the camera, Jensen spends his time on the stage.

Not all the tough-guy officers living inside Grady Memorial died in the name of Dawn’s endless thirst for power. Licari survived purely because he knew when to back down in order to see tomorrow. Christopher Matthew Cook filmed Roundball, Mr. Right, Ctrl Alt Delete, Billy Lynn’s Long Halftime Walk, along with a guest appearance on Zoo since shedding his Atlanta police uniform. In 2016, Cook joined Nicholas Cage and Willem Defoe in the crime drama Dog Eat Dog.

Franco lived in the fringe, just doing what Dawn ordered while not pulling attention to himself. Honestly, that’s all most people want and will do anything to protect their quest to blend in where they’re safe from most threats. Post-TWD, Rico Ball—the man who brought Franco to life—appeared as Deion Brown in the romantic drama Love N Success. Ball has also appeared in 3-Headed Shark Attack and The Boss. Last year, he was in the first season of Zoe Ever After.


Zombie Reviews . . . JeruZalem

Zombie Reviews . . . JeruZalem
By A. Zombie

Rated: R (Adult Language, Violence, Drug Use, Nudity)

Starring: Yael Grobglas, Yon Tumarkin, Danielle Jadelyn, and Tom Graziani

Camera gimmicks aside, this is perhaps one of the most unique zombie origin stories I’ve seen in years. It’s not just a random, evolved disease. There’s no shadow government running tests on humanity. Asteroids have nothing to do with spreading a weird virus. For JeruZalem they went back to the religious origins behind mankind’s obsession with the dead rising. Every Rosh Hashanah mankind is judged. This time around, the living fail the test and the dead rise in Jerusalem to punish them.

Tourists Sarah and Rachel are side-tracked from their vacation in Tel Aviv by a handsome anthropologist, Kevin, who suggests they go with him to Jerusalem instead to celebrate the New Year. The trio pack into a hostel run by the charming Omar and his family. Desperate to party, the ladies take Kevin and Omar out to check out the nightlife. We get a taste of the everyday conflicts between the numerous cultures jammed into the city during their escapades. They spend some time flirting with two soldiers, Omar isn’t as welcoming. For the most part, the party scenes are just that, save the splashes of stark reminders that the people living in Jerusalem do so in constant tension with one-another. It’s not until the final day of the celebration when things get weird. Violent news reports dominate the airwaves, which Omar brushed off until it was too late to take action, and too widespread to continue softening the horror for the hostel’s guests. Because they’re so slow to see the undead threat, they’re trapped in the city when it’s put under quarantine. The only way out is through a massive tunnel system; one older gentleman knows the path.

By then, they’ve had a few face-to-face encounters with the undead. These zombies are a hybrid, bringing in more demon than zombie aesthetic to the creature design. They’re rotted humans, but the final evolution includes functional wings, black eyes, and claws. Because this was shot to look like Glass footage, everything in the dark is super grainy, no matter what resolution screen you watch it on. What could’ve been a super neat zombie design is muddied in the shadows. Fight scenes where the undead are close enough to see detail are choppy. Almost all of the latter fights include several minutes where the point-of-view is seriously compromised, there’s no light, or the camera is sideways on the floor. The zombie/demons aren’t the only creature. We get one head-scratching shot of something the locals call a Nephilim. It’s massive, towering over the buildings as it strolls by. Then we kinda forget there’s a huge thing walking through the Old City and continue on.

There’s little to get to know about the characters. They wear it all on their sleeves. Sarah is emotionally scarred from her brother’s death. Rachel is tired of her buzzkill bestie and wants to party. Kevin has a niggling idea about the undead rising, but by the time he thinks past getting in Sarah’s pants, he can’t save anyone. Omar has the most depth of them all, completely stealing the show from the ladies at every turn. This is the kind of film where it’s easy to forget to spend time developing the characters because the writers are so focused on how they’d die. And die they do. We see first-hand how a living soul turns into one of the undead. Which is really ridiculous because it means the main characters knowingly tote an infected person along for the great cave escape. Spoilers: Like any good zombie movie, there’s not much hope for mankind. The ending isn’t that shocking, but does leave fans with a nice sense of dread with the closing shot of a zombie/demon swarm over Jerusalem.

JeruZalem has its faults, it really does. However, I cannot tell you how refreshing it is to watch a zombie-centric film which isn’t set in America, the UK, or Germany. The change in location and culture dictated a change in the story-telling process. Doing something different is a terrifying challenge, one genre filmmakers relish and fans lap up like warm milk—watching the same set of characters doing the same things and running from the same monsters over and over is a drag. This film is not the next NotLD, but I’m giving JeruZalem three-point-five mangled mandibles out of five. I’d add it to a marathon night of found-footage films.


Into the Unknown, Vol. 2

Into the Unknown, Vol. 2
by R.C. Murphy

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.

The ultimate fate of the Vatos has been up for debate since information leaked during TWD’s second season production linking at least one of the actors to the season premiere. Before the second season hit AMC, the scene in question—featuring Vatos leader Guillermo as a walker in the overrun nursing home—was cut. It’s not cannon if it’s never aired in the episode, right? That’s what we at the ZSC like to think, and it’s not just because we have a soft spot for these guys.

So what did happen after Rick and company armed the Vatos and left Atlanta for good? As always, I have theories. It was only a matter of time before the patients at the home gave in to the perils of old age and stress from constant walker threat. Sad to say, but the only way the Vatos survive is because their patients succumb to the inevitable. Guillermo and Felipe wouldn’t stay put after that. Not in an unsecure building smack dab in the middle of walker territory. We don’t know much about undead numbers in the areas around Atlanta, save the quarry, to really nail a new base of operations for the guys. With a crew in tow, going vast distances without a ride wouldn’t work. Hell, even driving fifty miles in the apocalypse is a huge risk. In the end, I fully believe the strongest Vatos would have made it out of Atlanta. Maybe they headed toward the ocean. Maybe they found a stronghold near their home city and fortified it. Those guys had too much heart and too many smarts to linger in the dead’s city once their obligations to their patients ended, or even before if things took a turn for the worst. G and his guys aren’t the type to sit and wait to die. For TWD writers to consider otherwise proves they don’t even understand their own characters’ motivations.

Guillermo provided one of the most surprising moments for Rick, simply because the guy’s leadership style didn’t involve slaughtering everyone and taking what they wanted. Matter of fact, G wasn’t even in a power position at the old folk’s home, just stayed because it was the right thing to do. That strong moral backbone is why Neil Brown Jr. was the perfect man to play the role. Keeping up with the guy’s career is a whole ‘nother matter. Post-TWD, Neil hit Hollywood hard and fast, appearing in projects like Battle: Los Angeles, Weeds, Rivers 9, Insecure, and NCIS. Then he got The Call, he’d landed the role as DJ Yella in the N.W.A. biopic Straight Outta Compton, which also stars O’Shea Jackson Jr, Jason Mitchell, Corey Hawkins, and Aldis Hodge. In 2016, Neil joined an eclectic cast, and an even weirder writer/producer, for BBC America’s Dirk Gently’s Holistic Detective Agency. Neil, and his furry costar Bentley, steal every scene they’re in. Dirk Gently will return for a second season. Catch Neil alongside Johnny Depp and Forest Whitaker in the upcoming film LAbryinth. He’s also in Sand Castle with Henry Cavill and Glen Powell, which will stream on Netflix in the near future.

It takes a special sort of soul to give up any hope of salvation in order to tend to those in need. Felipe could’ve split, leaving Abuela and the others to the undead. He didn’t. Not only did he stay, he still provided the nursing care the residents needed. Noel Gugliemi proved to be ideal for such a kind-hearted, but tough character. His smile is infectious, spreading to each fan he meets during numerous convention appearances. On the small screen, Noel has been a regular on Fresh Off the Boat, with appearances on The Mentalist, Chosen, and Bones. For the blockbuster Furious 7, Noel reprised his role as Hector, joining franchise regulars Vin Diesel and Paul Walker for another action-packed film. Since TWD he’s also appeared in The Dark Knight Rises, For the Love of Money, The Purge: Anarchy, and Vigilante Diaries. Catch him in the upcoming films Pope opposite TWD co-star Neil Brown Jr, and Charlie Charlie which also stars Tom Sizemore and Eric Roberts.

Vatos member Jorge never backed down from a fight. He provided the security G and Felipe needed to keep the patients safe. James Gonzaba went on to film several short films after TWD. He’s appeared on CSI: Miami, and fans can find him in the films The Return of Johnny V. and Gino’s Wife.

Ah, Abuela. No one was going to get anything past her, let alone the very men keeping her safe from day to day. Gina Morelli provided the perfect amount of sass for the role, giving me endless joy while watching a wall of strong men part like the Red Sea for her entrance. After the show, she went on to film several projects, including an appearance on the TV movie Fabulous High.

Need a hand, Miguel? I’m not sure Anthony Guajardo will ever live down the moment when Reedus flung Merle’s hand onto his lap. It’s pretty much burned into fans’ memories. Anthony was the first Vato on screen, giving us plenty of attitude and laughter. Since leaving the show, he’s worked on several short film projects like The Symphony of Silence, Arose the Coward, and Emily. Anthony joined Daeg Faerch and TWD co-star Noel Gugliemi in the 2016 teen drama Ditch Party. Recently, Anthony wrapped production on The Pizza Joint and The Margarita Man, so keep an eye out for the release dates.


Into the Unknown Vol. 1

Into the Unknown Vol. 1
by R.C. Murphy

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.

Morales and his wife Miranda may be the wisest characters in TWD history. The morning after walkers ambushed the quarry camp, they grabbed their kids—Louis and Eliza—and left before they joined the others in the graves poor, delirious Jim dug. Anyone in the camp with half a brain should’ve left behind the Grimes love-triangle mess, which had in a way compromised the safety of the camp. Grasping at the flimsy straws the CDC trip offered wouldn’t help in the long run, either, and Morales understood this. If his family were destined to die, he wanted to be near kin. I don’t blame him. I’d rather die with family than alone or surrounded by strangers. With meager supplies, Morales and family would have to use the freeway on their way to Birmingham, Alabama in order to scavenge enough to get by on their own for an undetermined time. That near two-hundred mile trip is a breeze nowadays. With the dead out and freeways clogged with abandoned vehicles, it’d probably take an entire day to reach their destination. Did they find their family? I like to think an uncle or cousin escaped unscathed, establishing a safe community for the area, and Morales takes over as their leader. Morales presented himself to Rick not as The Leader of the quarry group, but a person willing to make hard calls to spare everyone else the burden, so it’s only natural he care for his own community.

The charisma Juan Gabriel Pareja displayed in his first scenes on the show is all-natural and requires no acting, something fans have come to learn over the years as he makes appearances alongside TWD alumni at conventions throughout the United States. Pareja has been busy on the small screen, securing a recurring role on Amazon’s Goliath, which also stars Billy Bob Thornton, Maria Bello, and William Hurt. He also co-starred on shows like Castle, The Mentalist, and Hawaii 5-0,. Pareja did some voice acting post-TWD, lending his talents to the video games Battlefield 4 and Dead Rising 3. Catch Pareja in action in Crackle’s Mad Families, alongside Charlie Sheen and Leah Remini.

Viviana Chavez didn’t have an overabundance of screen time while the Morales family camped with the others. Miranda was soft-spoken and supportive of her husband. Often, her time was spent with the camp’s children. On the flipside, Viviana is quite outspoken, and quite busy. Recently, she’s joined forces with several other film creators to create Bed Head Media. She also operates a photography business, Vivify Photography. On the screen, Chavez has been on a slew of fan-favorite shows like Homeland, Reckless, Sleepy Hollow, and Quantico. She’s also landed roles in Nightcrawler, Furious 7, and The Accountant.

As half of the total children in the quarry camp, Noah and Maddie Lomax provided a way to establish some fond memories for Carl before his path took a dark turn after his mother’s death. The Lomax siblings, portraying Morales’ high-energy kids Louis and Eliza, were the reason behind some of the rare light-hearted moments on the show. They’re also the only non-Grimes children on TWD to survive for more than two seasons so far. Maddie has taken time away from acting post-TWD. Noah went on to star in several films, including Safe Haven, 99 Homes and Brave New Jersey to name a few. He also has guest-starring spots on The Middle and Bones.