The Z Nation Universe Expands with New Series Black Summer by R.C. Murphy
Not long before SDCC 2018, a few gossipy news bits flitted across social media alluding to huge news from the Z Nation team. Without any evidence behind the stories, it’s easily brushed off as the usual comic-con driven theories; best to opt to wait for actual news from the production team themselves. We didn’t have to wait long.
One of the first big genre news items out of SDCC this year was confirmation that Z Nation will indeed expand with an upcoming series on Netflix titled Black Summer. There’s some quibbling over the exact wording regarding this being a spin-off, though. It sounds like this is their answer to Fear the Walking Dead in a way, what with the trip back to the chaotic parts of the apocalypse. The new series is slated to be a ZN prequel of sorts, with totally new characters, in the early stages of the zombie apocalypse. Or as showrunner Karl Schaefer said during The Asylum’s panel, “Black Summer is before the apocalypse got weird and was just scary.” Joining Schaefer at the helm is fellow ZN producer John Haymes.
The series will have eight episodes. However, where BS differs from ZN is the season will be one giant story. None of the zombie-of-the-week or enemy-of-the-week type of gags, here, as with Z Nation‘s early seasons. I suspect the new show will be something to set aside a day and just binge-watch in order to fully appreciate the story. During the panel, the showrunners promised that Black Summer would be the more serious cousin in the universe, bringing old school zombie horror to the franchise. So maybe make it two days. These guys are getting good at gore. It may be a tad much to digest in one day.
Coming in as the star for the series is Jaime King (Sin City, My Bloody Valentine 3D). King’s character, on the surface, sounds a little like a Carol (TWD) type. She will portray a mother separated from her daughter during the worst summer of the zombie apocalypse and nothing, absolutely nothing, will get in her path while she searches for her. To make due, she pairs up with other survivors just to get through to tomorrow.
There’s no release date just yet. There’s not even official sites or an IMDB page for the project yet, let’s be honest here. They’re just getting started with production, so it may be a while before there’s any substantial news, but we’ll keep an eye out and pass on word.
Season Five News from Z Nation at SDCC by R.C. Murphy
With all the chaos they left us with after the season four finale, it’s a good thing Z Nation survived the Syfy off-season guillotine in order to wrap up the extreme intrigue planted in last season’s disjointed romp through Warren’s mental snap and the Black Rainbow mission. Not many specific questions regarding the finale were answered during the discussion segment of the 2018 San Diego Comic-Con panel, but that’s standard operating procedure for almost every show which isn’t screening an episode or premiere during the massive convention. Sometimes a few secrets leads to greater fun down the road.
There was, however, a five minute trailer to whet everyone’s appetite for the upcoming season. Or should I say wet, according to some initial reactions to the gory footage? The trailer is not currently available online, but keep an eye on Z Nation‘s social media pages for the online premiere sometime soon.
This year’s panel was attended by D.J. Qualls, Kellita Smith, Keith Allan, Anastasia Baranova, Russell Hodgkinson, showrunner Karl Schaefer, executive producer David Michael Latt, and series newcomer Lydia Hearst.
Panelists discussed where some of the outlying characters would be in the upcoming season, physically and emotionally. Qualls says Citizen Z will stay way up north with his crew. Baranova revealed a little of what long-lost Addy will be up to now that her world’s been upended even more, though she doesn’t know it yet. Addy’s comeback story line promises to take us deep into the world of a new zombie breed—deemed Talkers by the production team. These Talkers are coherent, intelligent undead, and they’re out to get our heroes. On the flip side, Addy feels a kinship with these evolved zombies, and that’s bound to cause ample problems for everyone down the road.
The producers wrapped the panel by showing the trailer for The Last Sharknado: It’s About Time, since it’s the same production team and all. No, this does not mean there will be anymore crossover between the franchises than what’s already happened. Probably. Maybe?
Unfortunately, there’s no announcement about the Z Nation season five premiere date. Syfy has only confirmed that it will air sometime later in 2018. It’ll probably be late September or early October, but assume nothing until Syfy makes an official announcement in the upcoming months. To keep your memory fresh, all current seasons of the show are streaming on various platforms now.
And He Shall Be a Good Man: Review for iZombie 413 by A. Zombie
Before you march into this battle, make sure to watch your six for episode spoilers.
It’s been a rough year for Seattle, and things are not looking up for the newly crowned zombie haven. Despite Peyton’s best efforts, the federal government halts all support to the city. Fillmore-Graves’ kidnapping scheme is for naught. Liv and Levon’s sacrifice for each other won’t matter if the people they’ve saved starve to death. The city needs a plan. Unfortunately for them, their self-appointed leader is so focused on slaughtering anyone who breaks the rules, he can’t find a way to work together to stay alive.
Starving to death, or being devoured by ravenous zombies, isn’t the first or even third priority for Team Zombie in this episode. Everyone thinks they know what they need to do, then the calls start—Liv and Levon are being executed in the morning. One thing this show did well was make sure Liv’s chosen family were worthy of her never-ending sacrifices. They prove it in this episode when those friends drop literally everything to hatch a rescue plan. Even Major makes it back into Seattle in time to deliver a heartfelt pep talk to Renegade’s crew. Gladwell, driven by Ravi and Major’s concern for their friend, risks her livelihood to be the mole in Fillmore-Graves and feeds the rescue squad intel. You’ve got to admit, that team is scarily efficient. In no time at all they have a solid plan in place, including contingencies for any security FG set up in the park. They also waste all that time for nothing. The documentary Levon produced forces Chase to bump up the execution time and change locations after the crew releases it to garner civilian support for Renegade. The plan goes from expertly planned to basically a pitchfork mob with some extra strength.
We should have known we weren’t going to get a huge fight scene. This show hasn’t pulled one off yet. In this episode they attempt two large-scale fights which fall so flat, they can use them as tarps to cover all the dead zombies left at the end. The execution scene starts off pretty good. Wonderful moments from the actors, and of course the shock-not-shock from yet another dead boyfriend story line conclusion. At this rate, all we can do is shake our head and ignore the writers the next time they say the boyfriend might survive to see another season. Where this scene fails is the actual action sequence. It’s edited with cut-to-black frames. The editing is supposed to make the scene tenser, but in this instance the cuts take out any interesting action, giving us a few seconds with Major jumping instead of an altercation between unarmed resistance fighters and the regime in charge. And while the end of the fight is super satisfying for obvious reasons, the editing left much to be desired as far as a conflict goes. The same can be said for Angus’ final charge into battle. There’s so much time dedicated to showing how much force the zombies are up against at the gate, only for us to see a little bit of running, then close-ups of battlefield executions. The production brought in a tank and didn’t let us see Angus’ head getting knocked clean off by it? Why even bother? I got my hopes up for nothing. Well, not exactly nothing. Angus still pays the price for his evil deeds while alive and undead. This time he’s staying dead. Good riddance.
With the acting leadership, save Peyton, pushing up daisies, someone else has to fill the void before there’s a power vacuum in the tumultuous walled city. We knew Major was tapped to lead, but thought it nothing more than a ploy to test his loyalty. Turns out the best way to test someone is to present them with the truth and see what they’ll do. Major takes the reigns before someone with bad intentions beats him to the punch. His first act is to join with the military to stave off the zombies rushing the gates. The second most important thing to take care of? It’s the pressing problem everyone overlooked in order to rescue Liv. With few resources at hand, Major looks to the only people he knows can get brains into Seattle, Blaine and Don E. Guess Blaine will do okay without his father’s help, after all. The trio strike a deal which will drastically change how everyone sees the resident bad guys in the upcoming fifth, and final, season. From the looks of it, our whole crew will go out on top of their world. That’s probably just wishful thinking after four years watching the writing team emotionally torment the star characters.
The happy note for the season is, we’ve got a functioning relationship within the plot that doesn’t end in death before the wedding. Unfortunately, it takes a little bit of logic jumping to get there. Also, we’re going to have to ignore the fact that Michelle even exists, because that’s a ball of unresolved feels I’m pretty sure got dropped somewhere under the writing team’s table. But, hey, Clive smiles for an entire scene, and that’s the happiest we’ve seen this character, well, ever. The wedding scene is one of those great rom-com moments, capped by a literal miracle. Liv gives up her chance to be normal again, gifting Isobel’s curative brain to Dale as their wedding gift. If my tear ducts weren’t so rotted, I may have cried a little.
This season as a whole got a little messy. The plot was huge, with so many remaining loose threads I’m not sure if they were intentional or a product of realizing there’s no way to address that many issues in one go. We can only wait and see if the same writing problems make it to the final season. It’d be a shame for this show to go out with grousing from the fanbase, though.
Rated: TV-MA (Contains violence, gore, and adult language)
Starring: Martin Freeman, Simone Landers, Susie Porter, Caren Pistorius, and Anthony Hayes
When we think about current affairs in genre films, the adage has ventured far from, “Less is more.” With streaming services like Netflix dipping their toes in the game, we’ve seen stronger and stronger independent horror films popping up like mushrooms after rain. Given such support, filmmakers seem to be willing to venture further from the standard ho-hum zombie flick. Cargo is not a movie you’ll watch through your fingertips. But that’s not to say the movie lacks anything. The emotional and cultural depth are what put it on new level. So while this movie has less, well, everything than something like World War Z, it’s not one to overlook because it’s, “Just another indie movie.”
Even Netflix doesn’t believe in it, giving me a sixty-something percentage on the compatibility scale, despite my watch history being almost entirely genre films—including several indies with similar vibes, but inferior cinematography.
Here’s the plot rundown:
Australia’s coastline and major cities teem with people infected by a cannibalistic virus. Aboriginal people still connected to the old ways make their way to their ancestral homes seeking refuge from the “ghosts” haunting the plains. Other lucky souls make it away from the worst by sticking to the waterways.
Andy, his wife Kay, and their infant daughter Rosie are supremely lucky to have a houseboat and a smaller motor boat at their disposal. But food is scarce. Scavenging for supplies comes at a steep cost. With a 48-hour timer on Kay’s final moments, Andy makes the call to find help at the nearest town. Kay never makes it after they cross paths with a wandering ghost on the road. Andy winds up infected in the chaos. The ghost isn’t alone, trailed by his daughter Thoomi. The pair are on the lam, Thoomi fearing her people will put her father to rest without giving the Clever Man a chance to reunite his soul with his ghost. Which, ultimately, they do while the girl is imprisoned by Vic.
Vic, the man with a plan for “after” the apocalypse, will get his way no matter what—just ask his wife-not-wife, Lorraine. Andy likewise has a run-in with Vic, also ending with his imprisonment. Together, Andy and Thoomi escape with Rosie. They help each other across the unforgiving Australian landscape in search of anywhere safe for Rosie to grow up. Eventually Thoomi’s home is the only logical choice. Getting there will take every last bit of life left in Thoomi and Andy.
Right out the gate, one can’t help but wonder over how well the filmmakers utilize Australia as the setting in general. With so few city or building locations for the characters to return to, it makes sense to use what they have in abundance to fill in the gaps and establish the groundwork for a seriously well-shot movie. As said earlier, you won’t watch this one through your fingers, and that’s because you won’t want to miss a second of the gorgeous Australian landscape.
The cast makes acting in a location-heavy genre flick look easy, and it’s far, far from it. On this shoot in particular, the weather was downright terrifying, but one would never know that from the way everything’s edited together, aided massively by the seemingly effortless acting from the leads. Freeman and Landers are on the exact opposite ends of the experience spectrum, yet you’d never know it unless you looked further into the film. Their skill and ability to use it to forge a bond on-screen is what makes Cargo so compelling in the second half. Despite the audience knowing early on how things will probably end, they’ll still find themselves rooting for the duo to win against this unseen foe.
Said foe isn’t unseen for long. The zombie effects are a far cry from what we’ve seen lately. I know I say that at least once a year, but this time it’s real, dang-it. For one thing, these zombies are a little goopy. Their blood is gelatinous, discolored, and ample. Each victim undergoes a slow change, suffering seizures and leaking goop until their orifices seal over with it, which signals the final death and transformation. The eye and mouth sealing effect is downright nasty. World’s worst eye boogers. As for the rest of the makeup? The zombies are generally pale with oozing wounds, relying heavily on movement and the crusty face to sell the idea. It works for what this is, and that’s not a grand zombie chase across the countryside. It’s two broken families desperately finding a way to make sure the next generation sees the future, and that’s nearly impossible because mankind’s corruption has rotted the world so much, even the dead are wrong.
A breath of fresh air, Cargo far exceeded my expectations. I’m going to give it four smoldering corpses out of five. Grab a few friends and treat them to just under two hours of quality time together watching this movie. It’s a great way to take a break from the corruption rotting the real world.
You’ve Got to Hide Your Liv Away: Review for iZombie 412 by A. Zombie
Oh no, darling! You can’t possibly go on without knowing there’s spoilers in this review.
With just two episodes left in season four, it’s expected that the plot will whip into a whirlwind with hopefully enough momentum to push the ongoing story into the next season. The problem with this season is there’s too many stories. Too many new characters. Even if one watches this episode without commercials, it seems to take an eternity to get through all the important bits. Why? Because every scene, every moment has to count. The number of info dumps in the episode is staggering. Info dump is a term for dialog laying out a substantial portion of a story line with little to no action to accompany it. It’s usually something novel writers are guilty of, but a few shows have taken to this style of storytelling as a shorthand to get to the good stuff. At least this show, unlike GoT, didn’t use the one sex scene to info dump with breasts on screen in order to keep viewers’ attention.
The Brain of the Week case this time around goes to Ravi since Liv’s occupied with Renegade problems. While the victim this time is a woman—yes, what a shocker—she’s insufferably narcissistic. McKenna is, was, the kind of girl to walk up to a bar, ignore the bartender, and place an order via their “squad” of wannabes. The selfie queen, and former zombie, is a New Seattle celebrity. The Scratching Post brings her in as an “influencer” of sorts one evening, but by the time the sun rises, McKenna isn’t part of the undead or living crowds. Finding out who wants her dead isn’t hard. Ravi’s sole vision leads to a Brother Love follower who dishes the dirt about the pseudo priest’s call to rid the world of the woman’s offensive behavior. Angus himself didn’t do the deed, he’s too careful for that. Yet he still shows up to the interrogation wearing his robes, carrying the hammer we’ve seen him use against humans. Don’t get your hopes up. Angus walks free when Tucker, the bigot turned by Gladwell, confesses to the murder. It’s not a lie, either. Tucker doesn’t do any time for the murder, thanks to Lambert’s interference. Because that’s just what we need, a Fillmore-Graves employee drunk on Brother Love’s Flavor Aid. The day this story line ends cannot come soon enough. It’s cluttering the plot and, quite frankly, the religious extremist plot doesn’t hold any appeal since it’s been done a million times before.
Liv still gets a personality shift from a brain, but it’s not because she decides on her own to eat this particular, love-stricken woman. In a rush to save Liv from herself, Major wanders up and casually kidnaps her, like he didn’t leave his Chaos Killer days long behind. His security clearance gets them out of Seattle and into the next state to a safe house. It’d seem like an extreme measure, but everyone who knows Liv is Renegade—including Clive, now—agrees that her first move after Fillmore-Graves publishes a statement threatening Curtis will be to turn herself in to Chase. Matter of fact, that’s what Liv is doing when Major nabs her outside the apartment. Where this story goes wrong is when Major uses old lovers’ brains to lull Liv into a false sense of security. He roofies her. We’re not quibbling over this fact. There’s no legitimate reason for Major and Liv to ingest these brains, save to give Major his happily-ever-after no matter what. The thing that gets me is, the actors are so good together, we’re almost charmed by these scenes. For the entire season, the Liv and Levon connection felt forced, marred by Liv the pickup artist coercing Levon into sexual situations. Their relationship only feels right once in a while. This episode is one of those moments where the relationship works, and then there’s Major screwing it up by drugging his ex for one more chance to play house after his repeated failures as a partner. Not to mention, this story line is a mess. Repeated info dumps. The sub-story with the missing couple is ridiculous. Are we honestly to believe two zombies can be in a house for a day before hearing the others in the basement? Then there’s the return of Roche. Out of the blue. Just shows up, forcing Liv to save Major after he destroys the last of her trust in him. Major’s on the outs with everyone, suddenly. His bro Chase even calls it quits after sending Hobbs to do a little loyalty test. Major’s going to have to do a lot to out-hero Liv now that she’s turned herself in to save Levon . . . who turned himself in to save Curtis. For Chase, it’s a case of, “Double the execution, double the fun.” He’d gladly triple it if he gets word of Major’s part in everything.
Using the chaos from his father’s speeches, Blaine has one hell of a plan on-deck. But first, he has to get God to send a sign so Angus will put the plan into action. That requires a secondary plan and, uhh, brain snow. Gotta hand it to them, brain snow is a brand-spanking-new concept. One I’d like to inspect. Closely. Hey, you can’t eat the yellow snow; no one said not to eat the pink-ish gray snow. Man, if Blaine gets his way, the plot for the next season is going to be super complicated.
Or maybe not. There’s a slim, and I mean slim, chance that Ravi’s long-shot testing with Isobel actually yielded an answer to the zombie problem. Once Ravi cleans his brain of McKenna’s influence, he dives into his grand experiment. The techno babble goes way, way over my head. However, the results are unmistakable. Thanks to whatever glowing chemical Isobel’s brain produces, Ravi cures a rat in virtually no time at all. Is it a definitive cure? Of course not. It’s one test subject in one testing sequence. Science requires far more work before Ravi declares he’s found anything beyond a hard-to-identify chemical in Isobel’s brain, let alone the cure to zombiesm. That being said, he needs to test faster before Blaine and Angus turn half the USA into the undead. Or he runs out of brain to test.
In happier news, Clive and Dale realize they’re grown adults. This entire season, they’ve simply failed to talk to each other in any meaningful way, as grownups who want a life together should. Clive’s fear made him blab to Liv about the kid thing, instead of taking it to his romantic partner. Dale’s fear of Clive’s desires make her lie about a non-existent lover. It takes a reality check from someone on the outside to convince them to talk. And wouldn’t you know it? They actually want the same thing—each other. The ‘ship still sails!
For weeks, I’ve kept my eye on a different variety of teeth-gnashing undead staging an invasion. As more and more news pours in about this threat, I feel compelled to warn you all about the newest vampire menace.
Coming from Netflix sometime in the near future is V-Wars, based on the 2012 book edited by Jonathan Maberry. V-Wars spawned three follow-up books, as well as a game and comic book series.
About V-Wars the book (via jonathanmaberry.com):
They are already here. They hide among us. They hunt us. They feed on us. They ARE us. V-Wars is the chronicle of the first Vampire War. From the savage murders committed by the patient zero of the plague to full-out battles with vampire terrorist cells, these are the stories of the most terrifying war mankind has ever faced! With stories by Gregory Frost, Nancy Holder, John Everson, Yvonne Navarro, Scott Nicholson, and more.
Bringing the beleaguered characters to life on the small screen are Ian Somerhalder (The Vampire Diaries), as Dr. Luther Swann. Coming in to play Swann’s best friend Michael Fayne is Arrow‘s Adrian Holmes. Peter Outerbridge will add his particular spin to one of the untrustworthy characters, elegant yet duplicitous Homeland Security Team member and science expert Calix Niklos. Rounding out the currently released cast list is Jacky Lai (Beyond), who will play Kaylee Vo, a hard-hustling reporter who’ll do anything to land the biggest story of her life, but when she does, it puts her in the path of dangerous enemies.
About V-Wars the series:
Dr. Luther Swann is in for the fight of his life when a virus is released via melting polar ice—thanks, climate change. The disease turns his best friend, Michael Fayne, into a ravenous predator who isn’t afraid to sate his newfound hunger. This terrible disease spreads; more and more are transformed. Humanity crumbles, leaving normal people fighting the rapidly expanding vampire population. Swann struggles to understand what’s happening, while Fayne sets himself up as a powerful vampire leader.
24’s Brad Turner is set to direct the pilot episode for the series. He will stay on to act as an executive producer under showrunners William Laurin and Glenn Davis—both of whom produced Syfy’s Aftermath series. Season one of V-Wars will contain 10 hour-long episodes.
Filming is currently underway, with locations in Sudbury, ON and the Toronto area. Maberry and Holmes have dropped some pictures and video from the first week of filming on Instagram, if you want to take a peek at the behind-the-scenes process.
We’ll update you, dear brigadiers, when the vampires announce their invasion day.
A. Zombie Reviews: Day of the Dead: Bloodline (2018) By A. Zombie
Rated: R (Contains: bloody violence, gore, adult language, nudity, and sexual violence)
Cast: Johnathon Schaech, Sophie Skelton, Jeff Gum, Marcus Vanco, and Shari Watson
Let’s address the elephant in the underground bunker right off the bat. Yes, this movie has the same name and basic premise as the Romero movie. That’s pretty much all they have in common, though. When it comes to all these tired reimaginings of cult classics, this may very well be my least favorite. The writers took the bare minimum from the original, enough to call this mess an homage or whatever, and ran with their own bizarre plot dripping in misogyny.
The plot, at a glance:
The zombie apocalypse takes the world by surprise. Caught up in the chaos is Zoe, a young med school student with a focus on epidemiology. To make matters worse, when the dead rise, Zoe is in the middle of fighting off attempted rape from Max, a man with unique blood and a sick obsession. Fast-forward five years, Zoe survives and Max is long gone, but not forgotten. The bunker Zoe calls home serves as a military outpost and scientific research station. In other words, humanity’s last chance to find a cure. If a more mundane epidemic doesn’t take them out, first. A sick girl may be Patient Zero of a new infection. Luckily there’s still medication locked away at Zoe’s nearby medical school. Miguel, the jerk in charge, agrees to the trip. The scouting team recover the medication, and unfortunately, Max, as well. The rapist’s blood kept him in a half-zombie state after the attack. He tracks Zoe through the compound. Despite their history, she saves him to maybe create a cure. Through the testing phase, Max harasses Zoe. Stress and lack of time after Miguel finds out leads her to agree to an ill-considered plan to get fresh rotter blood to test against Max’s. Undead swarm the bunker. Max breaks free. Zoe has to choose between keeping Max alive for her tests or ending his murder spree. For the sake of humanity, she makes the right decision.
The rape sub plot is the most infuriating piece of screenwriting this year. How? How does one look at the Bub character and think, “You know what his backstory is missing, bro?” “Family and friends?” “Psht. Nah, man. A sweet young woman to rape.” Frankly, it’s an insult to the work put into creating that character. They’re only saved from Romero fans grabbing pitchforks because they changed the character’s name. The guy is still styled after Bub post-turning, so they’re not hiding it very well, either. In typical fashion, once the rape idea is introduced, Zoe then relives the moment countless times. Max speaks to her as a zombie, claiming her as his. At one point she has to draw his blood and calls herself his property in order to make him comply. In what universe does someone take a beloved, if flawed, movie and turn it into a story about how not even death can stop a rapist from getting what he wants? This one. This crappy universe wins the prize for being simply the worst.
Sometimes the acting saves a bad script, though nothing’s saving this one from what I mentioned above. In this case, the performances are not where they’ll find praise for the movie. Few of the actors deliver a steady performance the entire film. In a few scenes, they sound like they barely remember the script. As for the content of what the characters say? It’s some of the most Captain Obvious filler dialog taken straight from someone’s first-time horror script. “This is a thing you are seeing with you own eyes, let me repeat exactly what’s happening with no new information.” That’s what I hear, instead of what I’m sure someone thought was witty dialog.
Maybe the makeup stands apart from everything else this year and they can use that for bragging rights! Yeah. Not really. Max’s makeup is disturbing, but the mouth effect loses impact after about the millionth time he roars. We can’t ignore the jet-speed blood spatter effects. They’re beyond ridiculous. In the opening scene we’re expected to believe all these people are full of pressurized blood capable of shooting halfway across a football field. The one zombie which stuck in my mind is the first, and the makeup is subtly perfect. The rest blur together in a wash of blood. At least the fake blood itself was high quality and super believable.
Just face it, this was a bad idea. It’s one thing to want to make your own zombie film, tons of people have and I’ve enjoyed each for its own merit in the end. But to force this kind of garbage onto a known, respected franchise is absurd. Play in your own sand box, don’t crap in someone else’s, let alone that of a dead man. I’m giving this film one and a half desiccated eyeballs out of five. Pass on it and go take a walk in a park, instead.
Insane in the Germ Brain: Review for iZombie 411 by A. Zombie
Clean off your hands and don’t touch any of the episode spoilers below.
This episode is . . . problematic. Countering a slew of character issues are a few golden moments. We witness this sweet farewell to someone too young to die, but they greet Death bravely. Chase has empirical proof of how far Major will go to prove he’s firmly with Fillmore-Graves. Not to mention, the romantic drama in Clive and Dale’s corner is just a gut-kick. These sub-stories tell me the production team can indeed make us care for the characters in ways which will make softer souls tear up. So why on earth are all the Brain of the Week cases in the last half of this season so cringe-worthy?
This week’s victim, Vince, winds up having his head bashed in after cross dressing to perform in a skit critical of the HR representative at his office. Right off the bat, the premise is pretty transphobic—oh no, it’s a man in a dress, let’s laugh about his penis! Ravi calls back to the penis gag several times in a couple minutes. Why? Why address the victim’s genitals at all if the trauma is to his head? Vince’s privacy is further obliterated when his office rival discloses his mental illness without any pressure from the police whatsoever. Then we’re slapped with a red herring in the form of Liv’s vision starring Softball Bigot and his pals. Because Of Course the first real suspect for the murder is a man who freaked out because his masculinity was bruised after drunkenly hitting on a Man in a Dress. This is probably the lowest, most loathsome way to treat this character—a character who isn’t even transgender, by the way. But boy oh boy, do they code Vince’s final night like a trans panic murder. It doesn’t take an overly enlightened person to see what the writers intended, here. And you know what? It’s gross. They should have shelved this idea and brought in a new brain for the episode. All the needed, really, was a victim for Crybaby Carl that’d bring him into the PD’s spotlight. It could have been literally anyone inside the city walls, not (yet another) white man, with a mental illness, who happens to be dressed as a woman. This whole rant of a paragraph doesn’t even cover the insensitivity of how they handle Vince’s mental illness after Liv eats his brain. As far as characters go, Vince is literally a Mad Libs page which finds itself on a camping trip, only to wind up toilet paper because someone didn’t pack right.
On the big-picture side of the plot, Don E. helps Angus reach a global audience. The disturbance from his visceral hatred for humans ripples far, far from the theater-turned-church. In the end, the violence wraps back around to affect the people Angus swears he cares for, yet he escapes, as always happens with this man. In Seattle, hungry zombies feel at liberty to envision devouring humans passing by on the street, and possibly act on it if it were darker and more secluded, perhaps? Local politicians, including Peyton, are on their way to their D.C. flight—where they hope to prove humans and zombies can coexist—when the edited broadcast goes live. Fillmore-Graves sees a gigantic PR disaster. Major’s guilt over dismissing Angus as a serious threat makes one want to smack him upside the head. Of course this monster would continue to be a monster, genius. Why not keep him under stricter observation? Particularly by zombies who aren’t so inclined to fall under his influence. Angus is a wildcard none of the leaders in town can afford to entertain anymore. I suspect instead of Renegade as the next public execution, Chase will swap to Brother Love. It’d certainly go a long way toward convincing the United States government that they shouldn’t nuke the city.
Before Peyton leaves, she and Ravi visit her parents for dinner. To say the scene is awkward is an understatement. Once again, Ravi manages to undermine Peyton’s authority. Admittedly, it’s to
tell her bigoted father to shut his trap, so there’s mixed emotions involved. The odd group do reach a consensus on one matter when it comes to Peyton’s safety—they’d all rather her stay in D.C. instead of coming back to Seattle. She, of course, is having none of this silent retreat plan. Any problem in Seattle is hers to meet head-on. Seriously. She’s the closest thing they have to a mayor currently, unless they’re going to give up all pretenses and just call Chase Commander of the city.
Peyton’s position is vital to the Underground Railroad. Unfortunately, the need for her help comes after she’s gone. Doing her best to battle the brain’s influence, Liv busts into the border wall office dressed as Peyton. Why on earth would she be so bold? Well, Suki and a newcomer were stopped and held in the overly crowded waiting room. Liv lost one coyote to the authorities already, she’s not about to lose another. It’s a close thing, though, after she subtly freaks out due to the desperate people clamoring for help from the “mayor.” It seems reckless for them to bring in someone at this time, but the visitor is someone who desperately needs to reconnect with her daughter . . . Isobel.
Going into this story line, it was obvious Isobel wouldn’t stick with the show long. Then the actress made us all want to protect this darling, morbid as heck young lady. Even Isobel’s tired efforts to startle everyone by pretending to be dead provokes a little smile thanks to Izabela Vidovic’s acting skill. Where this story really works, and works well, is when Ravi comes to say his final goodbye. That goodbye comes after a heart-rending bout of denial. Rahul Kohli delivers his strongest performance yet in this scene. Seeing what could have been as far as a connection between all these characters makes one wish Isobel came in sooner. At least then maybe we would have seen the no doubt hilarious driver’s ED scene.
On the overlord side of the plot, Chase Graves screws up his own victory party. Big time. To even earn said party, first Major risks himself by knowingly walking into a bad situation in order to meet Roche’s boss. His team manage to not completely screw up the job and the bust is a resounding success. Then they fail to secure a weapon during prisoner transport, losing Roche in a city where he’s got all sorts of ties to people capable of making him vanish. After hearing the news, Chase snaps, blaming Gladwell for more or less everything that’s gone wrong in the last few months, if we’re honest. Anyone else uncomfortable with Chase being a neo-Nazi stand-in who routinely murders black women? Gladwell survives, so far, thanks only to being a zombie. Her partner doesn’t fare so well. Major would’ve died without those two in a stunt he only pulled in order to appease Chase. Now his white knight has blood on his hands. Will Major continue to march in Fillmore-Graves’ little army? He knows there’s a better cause to back just waiting for a savior dumb enough to join in.
As I said before, there’s just too much going on for this season. I’m loving certain sub stories, like Isobel’s visit, but dread Liv’s everyday work with the PD. Somewhere along the line, the focus went from telling quirky police stories with a zombie detective to complicated season-arcing plots which only vaguely fit together if one squints at the facts really hard and tilts their head. It’s a symptom of writers thinking they’re clever, yet the edited product is far from it because there’s only 40-ish minutes to tell all these stories. Sometimes less is more.
Every summer, San Diego, California is overrun with people—in costume, out of costume, covered in body paint, alive, undead; it takes all sorts to make an event of such magnitude truly magical. As always, we’re keeping our eye on the undead attendees scheduled to appear. This year we’re expanding the list to include those pesky vampires who keep creeping back into mainstream media.
Keep in mind, this is a super early, unofficial list compiled from information given by the panelists or production companies. The official SDCC panel schedule will be available about two weeks from preview night, Thursday, July 18th. SDCC programming will run from then until Sunday, July 22nd. For the most accurate information, please visit SDCC’s programming page.
Zombie programming schedule:
5:00 PM – Z Nation (Indigo Ballroom)
The Asylum presents a peek into the fifth season of the intense yet funny SYFY series. Anticipated panelists include DJ Qualls, Kellita Smith, Russell Hodgkinson, Karl Schaefer, and possibly more to be announced before the event.
About Z Nation:
In the beginning, a group of survivors must cross the country with a possible cure for the zombie apocalypse. The holder of the cure, a zombie-human hybrid named Murphy, may not be so cooperative. In season two, the team continued their journey to the elusive CDC lab in California, dealing with bizarre enemies both old and new and an increasingly insufferable— and perhaps dangerous— Murphy. For season three, a new adventure lurked for Citizen Z, while our survivors faced a totally foreign threat. Oh, and Murphy caused all kinds of trouble (are you surprised)? Going into the fourth season, the story skipped two years and caught up when the survivors realized they must deal with new types of zombies to stop a mysterious threat known as Black Rainbow.
11:15 AM – Fear the Walking Dead (Hall H)
There’s little information online so far, but it’s safe to assume a wide variety of cast and the show’s creators will be present. The panel is perfectly timed to give them a chance to hype the second half of the fourth season, which begins again with episode 409 on August 12th at 9 PM.
About Fear the Walking Dead:
In Season 4 of Fear the Walking Dead, fans will see the world of Madison Clark (Kim Dickens) and her family through new eyes—the eyes of Morgan Jones (Lennie James), joining the story from the world of The Walking Dead. In the new season, the characters’ immediate past mixes with an uncertain present of struggle and discovery as they meet new friends, foes and threats. They fight for each other, against each other and against a legion of the dead, all to somehow build an existence amid the crushing pressure of lives coming apart. There will be darkness and light; terror and grace; the heroic, mercenary, and craven, all crashing together towards a new reality for Fear the Walking Dead.
12:15 PM – The Walking Dead (Hall H)
Like the above panel, we’ve got no information about incoming guests, but given a history of filling the gigantic table on stage, it’s safe to say they will not disappoint on the caliber of who’s present to introduce fans to the ninth season of the blockbuster AMC show. Hopefully we’ll get a start date, too, so you all can start planning your premiere parties.
A refresher about The Walking Dead season eight:
All out war has had a devastating impact on every person involved. The communities themselves are fractured. Alexandria has been destroyed, the Hilltop finds themselves pinned, and the Kingdom is shattered — half of them dead, the other half controlled by the Saviors. At the very center — Rick, having been distracted by the conflict, has just returned home to learn that Carl, who heroically shepherded the Alexandrians to safety during Negan’s attack, has been bitten by a walker. Once his sole motivation in this otherwise stark existence, Rick is forced to deal with this reality. Carl has always been a beacon of hope, a symbol for the remaining thread of humanity — lessons that the survivors around him would be wise to take with them as this war surges onward. But Rick isn’t the only person who’s living in peril. Aaron and Enid are in a dire situation at Oceanside — unclear if they’re in friendly territory, or if they’ve just made new enemies. Father Gabriel will do his part in attempting to smuggle Dr. Carson safely back to the Hilltop and a pregnant Maggie is wrestling with the many moral gray areas that come with leadership during war. In a standoff with the Saviors, she must decide how to proceed with the dozens of POW lives she’s currently in control of, as well as new complications that come with being a leader. In addition to the war, Negan continues to deal with struggles within his ranks as workers, traitors, and others’ thirst for power cause conflict at the Sanctuary. Having gifted the Saviors a major victory, Eugene’s loyalty is repeatedly tested as new obstacles present themselves. As all-out-war consumes us, the line between good and evil continues to blur. People fighting for what they believe in. Everybody working together for something bigger — to feel safe and have a world worth living in.
Vampire programming schedule:
4:00 PM – Van Helsing (Indigo Ballroom)
Get an exclusive first-look at the upcoming third season for the SYFY show, with additional information from panelists Kelly Overton, Jonathan Scarfe, Vincent Gale, Aleks Paunovic, Rukiya Bernard, Trezzo Mahoro, Neil LaBute, Mike Frislev and Chad Oakes.
About Van Helsing:
Van Helsing is set in the near future, where vampires have risen and taken control. Vanessa Van Helsing is humanity’s last hope, as her unique blood composition gives her the ability to turn vampires human. With this secret weapon, Vanessa becomes a prime target for the vampires. Van Helsing comes from the producers of Fargo and Hell on Wheels. Acclaimed director/playwright Neil LaBute serves as showrunner.
6:00 PM – The Passage (6A)
SDCC guests are in for a treat. Fox plans to screen the premiere episode, followed by a quick Q&A with the show’s stars and producers. Panelists currently scheduled are Mark-Paul Gosselaar, Saniyaa Sidney, Henry Ian Cusick, Jamie McShane , executive producer Liz Heldens, executive producer/ director Jason Ensler, and author Justin Cronin
About The Passage:
Based on author Justin Cronin’s best-selling trilogy of the same name, THE PASSAGE is an epic, character-driven thriller written by Liz Heldens. Executive-produced by Emmy Award winner and Academy Award and Golden Globe nominee Ridley Scott and writer/director Matt Reeves, THE PASSAGE focuses on Project Noah, a secret medical facility where scientists are experimenting with a dangerous virus that could lead to the cure for all disease, but also carries the potential to wipe out the human race. When a young girl, AMY BELLAFONTE is chosen to be a test subject, Federal Agent BRAD WOLGAST is the man who is tasked with bringing her to Project Noah. Ultimately, however, Wolgast becomes her surrogate father, as he tries to protect her at any cost. Brad and Amy’s journey will force them to confront Project Noah’s lead scientist, MAJOR NICHOLE SYKES, and the hardened ex-CIA operative in charge of operations, CLARK RICHARDS, whom Brad trained. It likewise brings them face-to-face with a dangerous new race of beings confined within the walls of Project Noah, including former scientist TIM FANNING and death-row inmate SHAUNA BABCOCK. In seeking out any allies he can find, Brad also turns to his former wife, DR. LILA KYLE, for help. But as Project Noah’s scientists hone in on a cure that could save humanity, these new beings begin to test their own powers, inching one step closer to an escape that could lead to an unimaginable apocalypse.
7:30 – Preacher (Hall H)
AMC hasn’t given any hints as to who’ll be on the panel to kick off festivities going into the show’s third season. However, seeing how the show is one of the more unpredictable on television right now, it’s safe to assume the panel will be worth a watch.
Season 3 sees Jesse, Cassidy and Tulip return to Angelville, the Louisiana Plantation where Jesse was raised and where old grudges and deadly obligations await them. With the help of his friends—and a few enemies—Jesse will need to escape his past . . . because the future of the world depends on it.
2:00 PM – Legacies (Indigo Ballroom)
Executive producer Julie Plec, with series stars Rose Russell and Matthew Davis, will host a special video presentation for the newest addition to the The Vampire Diaries franchise, as well as answer questions about the show. Legacies will premiere on The CW Thursday, October 25th at 9 PM.
Continuing the tradition of The Vampire Diaries and The Originals, the story of the next generation of supernatural beings at The Salvatore School for the Young and Gifted. Klaus Mikaelson’s daughter, 17-year-old Hope Mikaelson; Alaric Saltzman’s twins, Lizzie and Josie Saltzman; and other young adults come of age in the most unconventional way possible, nurtured to be their best selves . . . in spite of their worst impulses. Will these young witches, vampires and werewolves become the heroes they want to be—or the villains they were born to be?
3:45 PM Buffy Musical: ‘Once More with Feeling,’ an Interactive Whedon Musical (Room 6BCF)
“Time to end this show with a bang! The powers that be behind Whedonopolis and Fandom Charities present an interactive screening of the Buffy the Vampire Slayer musical episode “Once More with Feeling” as Comic-Con’s big closing event! Many say this is the finest, funniest, most ingenious episode ever to come out of the Buffyverse. But remember, the best part of the show is up to you! This episode was made for talkin’-back, and singing, and shouting, and dancing in the aisles, with or without your dry cleaning! Audience participation: It isn’t just for Rocky Horror and mob riots anymore!”
One last bonus panel, if you guys want to check it out:
6:45 PM Shooting Clerks (Room 6A)
“Fresh off its feature on AMC TV’s Comic Book Me, the biographical comedy which dramatizes the making of Kevin Smith’s indie cult classic film Clerks is finally coming to indie cinemas around the U.S. later this year. Join Christopher Downie (writer/director), Brett Murray (producer/actor), Ryan James (producer/editor), Matthew Postlethwaite (actor), Jay Booton (actor), Stephanie Price (actress), special guests from Clerks and Comic Book Men including Marilyn Ghigliotti (associate producer), Ming Chen (actor) and more for an exclusive sneak peak, behind the scenes footage, and some very special announcements.”
Yipee Ki Brain, Motherscratcher!: Review for iZombie 410 by A. Zombie
Where you going, punk? Don’t you know there’s episode spoilers in this neighborhood?
Major is the new hero is town. Well, at least in the Fillmore-Graves building. How long will his cohorts hold him in high esteem once they learn his ex-girlfriend is Renegade? What about his roommate, the underground zombie doctor? Sure Chase Graves trusts Major with literally his life right now, but he’s also a man about to watch everything he built crumble because he failed Dictatorship 101—which clearly states a leader should make sure he’s got a steady food supply for his people, or they’ll kill him. History is rift with leaders given a violent boot from the timeline when they couldn’t provide. Chase leans hard on Major to fix all his problems, and may even force the former Team Zombie member onto the guillotine before his own well-groomed head hits the steel. It’s clear after the final confrontation with Liv, Levon, and Major that he’s very much on the wrong side of history, here. His former friends will not be merciful if they all survive the chaos about to erupt from the religious corner of the city. His only hope is to get Roche to give up his boss. It won’t be easy. These guys are working a serious game, with the police and Fillmore-Graves completely unaware they’ve even sat down at the chess board.
Liv herself is pretty uninspiring this episode. The Brain of the Week belongs to Detective Benedetto, the epitome of scumball LEO. This charming chap was capped giving confession at church. Clive’s got three main suspects, all of whom were involved in a crime with a huge loot hidden somewhere in the city, according to AJ, one of said suspects. AJ claims Benedetto must’ve been killed because he wants the loot for himself. The theory sticks, seeing as Liv’s pretty much useless on this guy’s brain. She can’t even really work the case after whacking one suspect with a fish. Thanks to this, we never see any more action from the case unless it’s through Clive’s enthusiastic retellings. He gets the guy, by the way. And it is funny as hell to watch Clive fling himself around to replay his big off-screen fights.
Since Liv’s off the case, she spends way more time taking care of Renegade’s duties in this episode than in previous. It doesn’t seem like much, since most of the work is done in a montage, but she’s pretty serious about the trafficking thing, even on the brain. Everything’s running smoothly. Even one of her coyotes feels secure enough to announce he’s getting married. Then Fillmore-Graves happens. Curtis, the newly engaged guy, is nabbed and threatened by Chase himself. Curtis spills a cover story about Brother Love, which buys Levon enough time to get Liv for a rescue mission. Only, Renegade’s blessing comes with their scratch, and that’s the only thing Liv can give Curtis in the end thanks to FG’s security measures at the safe house.
The one person Liv still can’t save is Isobel, who’s now officially staying in Seattle to run tests with her mother’s blessing. Over a month-long montage, we see Ravi performing virtually every non-evasive test possible. Unfortunately, they all yield answers he could’ve predicted. Nothing special jumps out from her tests screaming it’s the key to a cure. Ravi’s upset about it, but what can he do? Well, he can start by not becoming a helicopter parent to a teenage girl overnight. Thanks to some serious binge-watching, Isobel has a huge crush on one of the actors from Liv and Ravi’s favorite show, Zombie High. With Liv on a brain with the impulse control of a gnat, she sets up a date for Isobel, sending Ravi into a full-blown meltdown. Why? Because Isobel’s finally feeling her mortality and being reminded that she’ll likely never fall in love every time she sees her new adult guardians flirting can’t be doing good things for her mental health. The post-date scene with Ravi policing Isobel’s right to her own body is pretty much what I expected from this writing team. At least they’re clear on the messages they send to women.
Parenting takes a vastly different form when we hop over to see how Blaine is dealing with Angus and his flock. By all rights, Blaine should just catapult his father over the wall and be done with the manipulative bastard. Somehow, some way, Angus manages to get back in his boy’s head. Blaine takes up the offer to join his father at church. He even plays a song for the congregation! A few flattering words likening Blaine to Jesus and the guy is putty for his father to shape into a new weapon. Wonder if Lambert will report Blaine’s activities to Graves, or if he likewise will fall under Angus’ influence. That’d be a huge shift in power for the city, and the city cannot handle a power struggle so soon after the mass zombie creations.