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 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.
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.
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.
Zombie Reviews . . . Pride and Prejudice and Zombies
By A. Zombie
Pride and Prejudice and Zombies delivers a timeless tale, rife with fighting, set in a post-apocalyptic, yet historical era. You can’t deny that it is oddly satisfying to watch a group of accomplished young women mow down a ballroom of zombies with naught but long daggers—which were concealed under their gowns—and some serious martial arts skills. Are there issues meshing the worlds? Of course. In the end, the film is visually satisfying enough to overlook most of it. As a boon, fans of the Pride and Prejudice story still find enough of the source to reconnect with their favorite characters in a whole new way. Or, as is one case, finally come to somewhat like what is possibly the most annoying character in literature.
Sam Riley and Douglas Booth in Screen Gems’ PRIDE AND PREJUDICE AND ZOMBIES.
The Pride and Prejudice story has enough twists and turns to make it a compelling tale. Adding in the undead posed a particular problem: How to keep the romance in the forefront without compromising a solid story about love’s place in the social structure by changing the setting to the apocalypse. In order to achieve this the quickest way possible, the film doesn’t open with the Bennet ladies and their marriage-worried parents—I will note that post-apocalypse Father Bennet has no interest in wedding off his daughters, only training them to survive. Instead, it begins with Darcy on the hunt for a zombie hiding in the midst of the upper crust. As far as first impressions goes, it’s a pretty sharp introduction. The first zombie isn’t a rotter, held back from the full transformation because he didn’t consume human flesh. Nevertheless, he’s infected and must be dispatched. It’s the first-person point-of-view kill which ruins the scene’s impact. Darcy is cunning and ruthless, then there’s this cheesy head-rolling moment with the camera. When it recovers from the point-of-view shift, the camera pans upstairs to a second, far more detailed zombie before the scene changes. The scene is crammed in before the traditional start to the PaP story, and the outcome of Darcy’s escapade, plus his failure to kill the second zombie, is dragged in again as a way to bring zombies to Bingley’s first party. At least it isn’t a single-purpose moment.
For the most part, the story itself is predictable if one is aware of the source material. There’s very few surprises, like Lady Catherine’s part as a one-eyed, sword-wielding leader in the human forces fighting the dead for control of London and the surrounding countryside. Even Wickham’s true nature, beyond being a cad and a narcissist, isn’t really shocking if one follows the natural progression of how the original book unfolds. I would’ve liked to see more effort to adapt the full story into something different. Lady Catherine remaining on the side of the angels bugs me in particular, seeing as she’s pretty awful to Elizabeth no matter what incarnation of PaP is being told. It would’ve been more shocking for her to side with Wickham over a common undead state than to willingly take in the Bennets, whom she sees as barely above her lady’s maid in social status.
Lily James and Bella Heathcote in Screen Gems’ PRIDE AND PREJUDICE AND ZOMBIES.
This is one horror film where it’s hard to do what we’re accustomed to: hoping all the lead characters bite the big one. Primarily, PaPaZ is a romance with relatable, quirky characters. The zombie war is there in the background to give Elizabeth and Darcy something to bond over, to put them on equal footing at last. That’s the big difference in this retelling of the classic. Elizabeth isn’t some seemingly-damaged suitcase her parents try to sell Darcy—and any other man without a bride— with no concern for her feelings. Yes, Mrs. Bennet’s marriage obsession plays a huge role in breaking apart the primary couple, as it always does, but it’s not as depressing as usual when looking at what Elizabeth has accomplished without a husband. Her prospects with zombies raiding England are better than they were in the actual historical era, all because their new society saw an education with the key sources far beyond the country’s borders as the only way to survive the menace—looking out to find a way to fix the problems within is something few societies embrace. Her progress in women’s self-empowerment doesn’t stop the entire Parson Collins plot from happening, though. He still arrives, annoys, and marries a Bennet daughter. Only this time around, Collins is somewhat tolerable because Matt Smith made him a bumbling fool, not a man coldly calculating how to sleep his way ahead in Lady Catherine’s good graces. Collins provides another opportunity to sew zombie conflict into the Bennet’s lives, but the potential went unchecked. The writer had a focus; Wickham’s established part as villain would be upheld. But why is he the villain? Why not any of the numerous people in Elizabeth’s life who degraded her for her gender or her place in society? Answer? He took a woman (property in the era) without permission. It’s a trope so old, I really hoped it would remain in the classic story and they’d do something different for the Wickham/Lydia plot.
The zombies in the film range in appearance. For the most part, they’re seen at a distance in groups. Few zombies get the close-up treatment, even fewer actually show grotesque wounds like traditional undead depictions. When the camera does get up close and personal with a zombie, I cringe. The design overall is great. Having undead waltzing around in these grand gowns and waistcoats strikes an oddly-pleasing discord. The illusion blows to pieces when one realizes there’s little practical gore on the actors. Featured dead have digital wounds; presumably to enhance the ick, plus make wounds deeper and move naturally during dialog. However, even the church girls on-screen for all of a minute appear to have digital rot on their cheeks instead of practical makeup. That’s where the design decisions stop making sense and become a headache for genre fans. The film cost enough without making the makeup digital. In a way, it feels we were cheated from a proper zombie battle scene because of the zombie design relying on digital gore. Yes, there’s a rather tense bit toward the end when they finally confront Wickham and the undead at St. Lazarus, but the camera is pulled back. Distance from the main threat in the film leaves the undead with the menace of a mosquito, not a lion hunting the countryside. It robs a little justice from Lydia’s rescue, as well, when there’s no real danger from zombies who are too far away to see clearly.
Overall, Pride and Prejudice and Zombies delivers what it promised: A classic story with zombies wandering in to seriously ruin everyone’s day more than Darcy’s absent sense of humor. Is it a perfect retelling of Austen’s novel? Hell no. Is it a decent zombie flick? Yeah, I’ll give it that. PaPaZ gets four majorly dislocated jaws out of five. Grab the film to enjoy beautiful things covered in blood n guts, stay for the witty snits between Darcy and Elizabeth.
Unfortunately, the reality during an apocalyptic scenario is that most people will not make it far with their families intact—these folks tend to fall to the wayside on the show quite often. Some of them shuffled off the mortal plain with next to no one left to mourn their passing, even amongst their neighbors. One we wished had made it to the current time line completely stole the show for a too-brief time. Then there’s the one with so much potential, killed off before the writers would have to tackle any hard questions about women’s sexuality when it isn’t in a heterosexual relationship.
We’re taking a look back at season six’s dearly departed, and catching up with the actors who brought them to life.
When you need to kill off someone, but make it seem impactful, you write the perfect jerk. Carter was season’s six’s sacrificial lamb—slaughtered by the group’s incompetence to make a point that Alexandria does indeed need Rick’s people to teach them the way, and that any who speak up against him will meet the wrath of God. Seriously, that’s how a lot of the deaths for season six felt, like the writers were over-reaching and showing their hand when they plucked problematic characters from Rick’s takeover path with little fallout for the hero. A shame, really. Ethan Embry, the man behind Carter’s short yet impactful time on TWD, could’ve brought a lot to the table acting-wise. He was perfect as a “friendly” antagonist, countering Rick’s attempt to steamroll into town and set up a military camp in what had been a peaceful settlement.
Post-TWD life has been pretty busy for Embry. He starred in The Devil’s Candy opposite Shiri Appleby and Pruitt Taylor Vince, along with Fashionista starring Amanda Fuller and Eric Balfour. Embry stars in Cheap Thrills, which is currently available to stream on Netflix. On January 13th, Amazon will release Sneaky Pete. The series was created by Bryan Cranston and David Shore (House), with stars Ethan Embry, Giovanni Ribisi, and Marin Ireland. Embry also plays Coyote Bergstein on Netflix’s hit comedy Grace and Frankie. The series stars Jane Fonda and Lily Tomlin. It has so much fan appeal, Netflix secured a third season before the second season aired. The third season will be released on the streaming service May 2017.
Nicholas never really endeared himself to anyone, let alone TWD fans, during his half-dozen appearances on the show. He, like Carter, were guys determined to keep things as they were before the prison refugees joined their community. After Glenn bruised his ego, he made it his life’s mission to eradicate the newcomers. In the end, Nicholas’ childish reaction to criticism killed numerous people, including himself. His final act, suicide, did have the unexpected bonus of saving Glenn. Guess Nicholas’ life wasn’t a complete waste.
Michael Traynor didn’t pull the long straw when it came to characters fans would clamor over for years to come. That being said, Traynor is such an awesome guy, they love him anyway. He can often be found living it up at various horror conventions throughout the United States, appearing alongside other TWD stars to meet their fans. Traynor went on to guest star on Freeform’s The Fosters for several episodes. Playing the father to a teenager possessed by an alien creature, Traynor appears in the upcoming sci-fi thriller Ascension alongside Christie Burke and Ana Mulvoy-Ten. He also stars in another thriller, this time with a horror twist, in Needlestick. In October 2016, Traynor appeared in the Youtube Red original thriller The Thinning. His next project is the ’80s drama Juke Box Hero, out later this month.
It’s no secret I loathe flashback episodes on TWD, but when they introduced Morgan’s personal savior, Eastman, it was worth the flashback trauma. He’s calm, collected, a pro with a staff, has a goat, and is obsessed with making the perfect cheese. Basically, this is the guy you want around when the crap hits the fan. Eastman’s story is far from cut and dry. Matter of fact, I constantly lament FTWD not existing as Eastman’s story instead of the lackluster plot they opted to follow. We didn’t get nearly enough time with a seriously complex character, nor did we get to fully enjoy the tension in his background which made him such an intriguing person.
We also didn’t get enough time to bask in John Carroll Lynch’s brilliance. This guy has been on the genre fan’s favorite list for years, only adding to his status in our hearts with his TWD appearance. After, he returned to American Horror Story for AHS: Hotel, joining the weirdest dinner party ever as John Wayne Gacy. Lynch appeared as James Rivington on TURN: Washington’s Spies. Joining Jennifer Beals and Olivia Thiriby, the trio starred in the thriller White Orchid. Lynch also appeared alongside Matt Bomer and Maura Tierney in Anything. In December 2016, Jackie released with Natalie Portman in the title role and Lynch playing Lyndon B. Johnson. Later this month, the biopic The Founder releases, starring Lynch as Mac McDonald, along with Michael Keaton and Nick Offerman. SyFy’s creeptastic Channel Zero returns in 2017 for a second season, with Lynch coming onboard as John Sleator.
When the apocalypse happens, anyone with a trace of medical training will be king. Or in this case, queen. Denise didn’t start out her time in Alexandria as the community’s doctor. Thanks to Pete’s little self-destructive outburst, she was thrown into the position and forced to adapt or get people killed. As far as competency goes, she doesn’t do too horribly. As far as fair treatment from the writers? Not the same story. Denise suffers from the writers thinking they could handle two sets of gay characters. Aaron and his husband were established before Rick’s people got to town, leaving the romantic bits between the men sparse, without the passion from new lovers and rife with awkward moments where the writers flounder finding reasons for them to touch without it being “too much” for a predominately straight target audience. Conversely, Denise and Tara form a bond over their awkwardness within the show’s action. It morphs into a relationship which could have been refreshing, but never gets any time to develop—like the writers thought its mere existence was enough to convince viewers they were being inclusive and sensitive to gay viewers. It leaves us forced to believe two women in love can’t find enough time to be in a relationship, or even touch each other, if there’s anything else going on in their lives. Denise is another victim of the writer’s half-handed attempt to do something different, but when it proved too tricky (damn being sensitive to an already media-tormented people) they put her in Daryl’s story line to kill her. Sigh.
Not to fear, Merritt Wever isn’t gone from the airwaves for long. She’s laid low since saying goodbye to Denise in such a violent way, but is set to make a splash in her next project. Mever will appear as Mary Agnes in Netflix’s upcoming six-episode series Godless. The show is set in the American West during the 1880s, where a couple of warring outlaws find themselves in La Belle, New Mexico—a town completely devoid of men.
Doc’s Angels: Review for Z Nation 311 by A. Zombie
To speak the word, one must first follow it. Sounds really deep, huh? Really, it just means Doc uses a busted old radio to follow the signal coming from this absolutely stunning little mini-castle smack-dab in the middle of nowhere. The woman on-air spends her days reading poetry and old stories. Before we see her, we know she’s an odd duck. Foretelling goes a long way on this show. Even knowing Doc’s walking into danger, it’s still fun to tag along to watch him become horribly uncomfortable with the situation he’s bumbled into.
Because, let’s face it, everything that’s happened to Doc since the Zs rose has been a case of him stumbling into the wrong place at the worst possible time. Yet he’s only gotten blown up once, so we’ll just say Fate is on his side. For now.
The impassioned poet doesn’t live alone. Camilla bunks with Linda and Sara, the latter of whom has a keen eye for style and an industrial Bedazzler. I’ll tell you what, the bedecked zombies are some of the oddest I’ve seen onscreen to date, and I’ve seen the Return of the Living Dead series more times than I care to admit. A few zombies escape Sara’s glittery wrath, but for the most part these Zs have every inch of exposed flesh covered in rhinestones. They look like some weird wraith tasked with protecting a pharaoh’s afterlife treasures.
The zombies aren’t the oddest thing at the ladies’ castle.
But we can’t let ourselves get distracted by bejeweled dead guys and gorgeous, yet odd women. Oh, no. There’s a mission to complete, and complete it Doc will before he tends to his . . . uh . . . basic needs. The homemade radio station is Camilla’s haven, powered by the same solar panels keeping the women comfortable despite the dead taking over the world. The minute Doc fails to connect to Citizen Z, we know he’s found yet another trap. And this time he’s all alone. No Addy to save the day or Roberta to snag him from death’s door.
Cheers to whichever sicko in the writer’s room gave the women an Ed Gein twist to their self-sustaining lifestyle. The truth lingers at Doc’s periphery during the in-between scenes where Linda, or Camilla, or Sara, attempt to seduce him. They never give him enough time to focus on what’s really in the house, and he doesn’t much care at first. He’s just glad for warm meals, a bed, and time not spent hiking across the countryside chasing what probably feels like a hopeless endeavor by this point.
The consent lines are awfully blurred in this episode. No one would be okay with this story line if Addy were the one trapped in a house of killers, plied with booze and weed, and found three aggressive people in her bed looking for sex after she clearly secured her safety for the night. But because it’s Doc, and because he’s our clown, this story is supposed to come across funny. It honestly stops being funny the minute the women are in his bed and he’s resigned to sleeping with them. Someone, somewhere along the line should have thrown a flag on this play and called for writing to tweak it. Make it less rapey—something I thought I’d never have to say about this show.
Aside from the clear failure to understand that consent doesn’t require a gender, the episode works in conjunction with the previous as a pallet cleanser. Killing two leading men in just as many minutes was a huge leap for a show which, until now, has protected the main cast with an iron fist. Each death has been carefully calculated and spread apart enough to not bring down the zany antics. Losing Hector and Vasquez, then prepping for war against Murphy and possibly The Man? There’s some tense action on the horizon. This stuff, Doc’s misadventures and the campy conception fairy tale they told Lucy in ep. 310, is vital to keeping the show’s tone as-is. Otherwise it becomes that other show, where everyone is always miserable and downtrodden. There’s no joy in watching abused people get kicked repeatedly. And what everyone needs right now is a little joy in their life, given the state of the news, not endless reminders of how bad things can get.
Bright side, Doc does get a message to Citizen Z and Kaya. He also escapes with his skin intact, scoring a bonus fluffy pink robe on his way out and liberating a bicycle from a zombie who obviously won’t need it anymore. With Doc’s message in-hand, Kaya makes quick work tracking The Man. Looks like the plan is back on track just in time to start a war.
Hearts Still Beating: Review for The Walking Dead 708 by R.C. Murphy
Watch out, there! Episode spoilers lurk in this review.
It took seven additional episodes for Rick to realize a woman was right. Not only that, Michonne has echoed the sentiment the entire time, only backing down when he’d momentarily convinced her things would work out. Rick is surrounded by women telling him to stop being a door mat. Does he listen? Nope. Not until several other people kick the bucket and Negan gets the chance to show off for the people who didn’t witness the murders Rick obviously failed to explain in great detail. Are the writers intentionally adding misogyny to Rick’s bag of tricks? Why take seven episodes to do the only thing which makes sense, unless it’s to prove Rick can think for himself without some chick butting in? Maggie calls for war and she’s too emotional to make a rational decision. Rick has two friggen corpses right outside his house and when he jumps to, “We have to declare war,” it’s completely natural to believe he’s in his right mind. Because men handle death better. Because Maggie’s marriage deemed her an emotional risk. Because the writers have no clue how to actually cobble together an interesting war story which doesn’t revolve around men with guns at the helm. I called it weeks ago; Maggie should be the general in this army. Rick is so wishy-washy, he sparkles. That is not who you want leading the charge against Negan.
Everyone on a suicide mission, please stand up. Whoa. That’s a lot of ill-advised—nah, you know what? It’s dumb. It’s idiotic to have half the main fighting force split and scamper off like little mercenary rats. Defying the odds, they all head in different directions, but still manage to find what they want. Carl didn’t want to be marched home by his shirt collar, that’s for sure. But he still got a couple shots off in Negan’s presence, and let’s not forget the man himself admitted to being afraid of Carl’s particular brand of crazy. Rosita got the easiest commute when Negan happened to show up just as she’s obtained her precious bullet. And, as predicted, she throws away her shot. Well, unless you count Lucille’s non-fatal wound. On top of blowing her chance to kill Negan, Rosita more or less hands Eugene to the Saviors—a new bullet-making toy Negan happens to find on the road—and Olivia’s skull is ventilated by Arat during the search for the bullet-maker. The “Let’s Kill Negan” chemical isn’t just in the water in Alexandria.
Richard interrupts a short catch-up chat between Morgan and Carol, petitioning her to appeal to Ezekiel about going to war—though it took him ten minutes to get to the point. Carol’s reaction is exactly what we expect; she’s out of the war game and just wants to be left alone to read on the couch. Morgan isn’t all-aboard the war train, either. Richard won’t let the idea go, and with how the episode ends, he’ll get his war soon enough. Michonne is the only one to leave on a suicide mission and come back without taking a shot at her target, because she chose not to endanger herself or her people by foolishly attacking an armed body large enough to steal the stubborn from her spine. The only action Michonne sees after kidnapping the Savior, Isabelle, is when the woman instructs her on the best method of survival—shoot Isabelle, take the truck, go home, and hide the truck so well no Savior ever finds their missing property and comes for answers.
On the other side of the fence, there’s people like Gabriel, who just want to keep everyone alive and as happy as possible. We also have the token sympathizer, Spencer. It doesn’t take long for him to figure out the game, especially after the blonde Savior, Laura, all but shags him there by the truck for a job well done fetching supplies. With his newfound momentum, Spencer spruces up for a man-date with Negan, complete with a bottle of whiskey in tow. The pair hit it off so well, they opt to play a game of pool out in the gorgeous weather. The town gathers to watch, and it does not a thing to still Spencer’s tongue. What’s galling is the writers failing to have anyone step up and tell Spencer to shut his entitled, bratty mouth. Yes, Negan shuts him up in his way, but there’s a couple dozen people standing around who know Rick can’t realistically be held accountable for the Monroe family’s deaths. It’s ludicrous to bring most of the cast in and use them as wallpaper for a scene we see coming fifteen minutes in advance. Mix it up a little. Want to show dissention in Rick’s ranks? Use the crowd in the scene, not as props. Let them speak for once. Why drag around the remaining handful of Alexandria characters and not use them? Looking back at seasons past, there’s only one or two people left from each main safe-haven Rick visited. Why? Because character development is a luxury one doesn’t possess when driven by a network to make everything bigger and better. More blood! More fighting! But, god, please no more getting to know the guy who lives three houses down from Rick. He might just have some insight, but we’ll never know because he could be replaced with a cardboard standee and it’d be just the same as it is now. Unless that guy goes batty and kills everyone, he’ll never get a chance to be more than a generic-named background noisemaker.
In the episode’s big moment, they brought everyone together in Alexandria to silently watch Spencer do the dumb thing and get dead. Surprise. Not. Snooze.
Pro tip, writers: Stop holding the dreaded relationship conversation right before you plan to kill a character. It gives the death away every single time.
Rick and Aaron bring supplies, but fail to remove a rude note from one tub. Aaron receives the punishment for such insolence while Rick wrings his hands. Who does that? Who finds an offensive note and thinks, “Let’s leave this here for the psychos to find.” The same guy who keeps racking up debt from an overlord because he can’t keep his people in line. We’ve known for years that Rick isn’t a leader. Spencer just went about trying to depose him the wrong way.
Michonne comes back to tell Rick they have to kill Negan. He has the gall to say he knows. See my first paragraph again if you need a refresher on, “The friggen man just can’t admit the women are right.” We end the episode in Hilltop with a lot of hugs. Why, though, is there two minutes of awkward reaction shots before they head inside? Why is Rosita with the war council when she screwed up so much? Do we care that Daryl and Jesus made it to Hilltop? Nah, I care more that Daryl bludgeoned Fat Joey for no real reason while pretending his decision to murder was better than any decision Joey would’ve made in his future—all a pretense to bring Daryl back to his more aggressive form, which won’t work when the character has no substance to work from.
They’re promising war when TWD returns in February. I’ll assume all the gut-wrenching moments the actors and producers warned us about are in the final episodes, because nothing I saw in these eight wowed me and made me think anyone in the TWD camp gave a crap about making a quality story.
Sing Me a Song: Review for The Walking Dead 707 by R.C. Murphy
Warning! This article contains episode spoilers.
Rest your worried minds, Daryl fans. You won’t need secret decoder rings for his new mute lifestyle. He’s not a poor, injured bird needing a helping hand. Contrary to just about every fan theory floating around after Negan’s big visit to Alexandria, Daryl’s tongue wasn’t cut out, nor were his lips somehow secretly sealed shut—guess y’all are so bored you’ve resorted to outlandish theories to pass the time like this is the Westworld fandom. The dude simply had the wherewithal to keep his trap shut while around people Negan would hurt in a blink if it guaranteed Daryl would finally fall in line. That good sense flew out the window once the guys reached home-sweet-home. One would think with Carl going all Rambo, Daryl would be extra mindful to provide an example in how not to get dead. Instead, he constantly oversteps his bounds—an intentional, ham-handed way to get Daryl alone in his time-out closet so someone can just hand him the key to freedom. Passive character is passive and only gets dragged along to boost viewer numbers.
The story is overly padded with side missions to find stuff or make stuff . . . and things. The Rick arc is pointless. Why do we need to follow he and Aaron on a fruitless—so far—supply run? Then we leave them without having any real conflict beyond, “Oh, there may be stuff in that boat in the zombie-pond.” Spencer accidentally scores a big hit after rifling through a dead guy’s pockets. Spencer could accidentally cure the dead and I wouldn’t care. His character isn’t. He’s Silly Putty, copying whatever’s around him, but half-assed and backwards. When Spencer does attempt to become a valuable part of society, he fails to support anything beyond his own interest in predictable ways. Rosita drags Eugene to the one place he doesn’t want to go—the warehouse with the makings for the now defunct bullet factory he and Abraham planned. After a lot of belittling, Eugene gives in and makes her precious bullet. At this point, any character out on a suicide mission should just get it over with. Oh, Michonne is already ahead of me, there. She’s following a trail straight to Negan, and opts to use a shortcut by abducting a Savior at sword-point. Jesus is with Carl up until he’s tricked into bailing from the truck, then he’s just gone. Whatever. There’s so many plates in the air, every single one will come crashing down in an incomprehensible mess instead of a cohesive mid-season finale.
The big story in the episode is Papa Negan’s reaction to Carl Jack-in-a-Boxing out of his truck with an automatic weapon in hand, killing a couple Saviors. Negan doesn’t snatch the whelp by his scruff and introduce his face to the pavement, though he has every right. Nor does he raise his voice to the kid, that’s saved for Daryl’s constant backseat nagging. Nah, Negan takes Carl inside, introduces him to the wives, orders snacks for them, and they sit to chat about Carl for just a little while. Keep in mind, Carl hasn’t really had a parent figure since season one. After Rick returned, Lori focused on her love triangle, leaving Carl to wander as he will. After Lori’s death, Rick dives into his plan to save humanity, leaving Carl to raise himself—and everyone else to raise Judith. Having a man sit and talk about him and not to him must’ve been weird. Not as weird as Negan’s obsession with Carl’s ragged eye socket. The talk buys time for the real show of power—where Negan provides the example Daryl wouldn’t, demonstrating what happens when rules are broken. The entire thing is orchestrated by Negan, down to Dwight—who’d met the iron after his insulin heist—passing the red-hot implement of justice to the bossman straight from the fire. I’ll tell you from experience, once you’ve had a severe burn over a large portion of skin, you’ll never forget the instant your nerves registered the pain.
Carl’s lack of enthusiasm, or fear, calls for drastic measures. No, Negan doesn’t reintroduce him to Lucille. They go on a little road trip, instead. For the second time, Negan rolls into Alexandria like he owns the place. Which, I guess he does. With Rick out doing next to nothing, Negan makes himself at home in his house, kicking back with Olivia and Carl. Making obscene comments. Ordering some really good lemonade. Oh, and he spends more time cooing at Judith, whom Carl attempts to hide, than Rick has done in ages. Rick is always just there with the kids. He doesn’t really react to them. He holds Judith, but always thinks of stuff ‘n’ things and stares in the distance. Carl could impregnate a horse at this point and Rick would wave it off.
We end with Negan threatening to kill and bury them in the garden before he moves in and takes over the little slice of heaven in Alexandria. Please do it. I’m tired of seeing everything from Rick’s point-of-view.
Go Getters Review for The Walking Dead 705 by R.C. Murphy
Slow your roll, buddy. There’s episode spoilers in this review. Sure you’re ready?
Just so happens, for now at least, we get to hold onto the knowledge that Glenn’s child lives and is actually perfectly healthy, despite the scare during the season six finale. I spent the first seven minutes clutching a tissue because they kept hitting the Blubbering Idiot button. When Sasha hands over Hershel/Glenn’s watch at the graves, the anguish from both deaths kick the audience in the chest. I wasn’t ready for that callback.
Then Gregory walks over and I want nothing more than to strangle a fictional character. This little slug needs to be salted and left on hot cement already. Everything from his mouth is disgusting and sexist. He’s so self-centered, he can’t remember his own people’s names. And the icing on the cake? Gregory is such a coward, last week’s Rick looked like William Wallace. Gregory damn near licks Simon’s boots when the Saviors arrive to establish a new outpost—by taking half of Hilltop’s stuff. Astoundingly, it only took Gregory five minutes to roll over and attempt to betray Sasha and Maggie. Jesus and the ladies are always five steps ahead of the cretin. Probably because Jesus has lead Hilltop from the backseat while basking in the freedom to roam. Unfortunately, his game made Gregory believe he was the one calling all the right shots. Accordingly, his ego grew. Now that ego threatens to ruin them all. The false bravado of an egomaniac is cheesecloth. One good twist and secrets pour like whey. Only instead of spilling about the ladies hiding in the settlement, he accidentally hands over his scotch supply. Serves him right. By the time all’s said and done, Gregory will have as much power as a thirty year old AAA battery. But I kinda want Maggie to run him over with the tractor, too.
If anyone thought a difficult pregnancy would slow Maggie, they were grossly mistaken. Not long after Dr. Carson delivers the good/bad news, she’s helping Jesus and Sasha dismantle a Savior-made nightmare in the shape of wide-open gates and an armored car blasting music for all undead to hear. They handle the dead. Maggie gets creative, fetching Hilltop’s tractor and going Gravedigger on the musical menace. What does their fearless leader do? He slinks back to his study. Which is what Simon expects from Hilltop. He’s surprised to find their service wasn’t required, that somehow the gutless farmers took care of a horde on their own. There’s many more surprises like that coming, Simon. Jesus wants Maggie to lead. They should probably do it together, with Sasha providing a huge assist. The three of them shut down the Savior’s game in a blink. That’s the response time Hilltop needs from their leadership.
Kids these days. Roller-skating, holding hands, kissing, and plotting to assassinate vicious overlords. Tsk, tsk. Enid can’t wait for news to travel down the grapevine, so she’s going to the source—Maggie. At first, Carl plays cool. He’s not saving her anymore. Yada, yada, yada. She’s peddled maybe two miles down the road by the time he steals a car and tries to impress her by crashing it—twice—while killing walkers. They have a blast on their trip, eventually wheeling to a stop outside Hilltop as Saviors load their loot. That’s when Carl lays out his plan. He’s going on. It’s time to find Negan’s hideout and get revenge. Carl’s plan is daft. One teenager. All alone. No depth perception. Open wound in his face. Enid does what she can to convince him to stay with her. Like that’s going to work. Have you met his father? She goes inside to say her goodbye to Glenn—although she left the balloons on the wrong grave, I still cried. Carl climbs into a truck bound for Saviorland.
He’s not alone. Jesus is on a side mission from Sasha—find Negan. He’s more popular than Beanie Babies during their prime. Someone’s going to regret this little trip. Finding the big guy won’t be so easy.
The episode’s action is boring. Maggie’s tractor bit is the highlight. Some of the fights look choreographed. There’s nothing really at risk when the walkers enter the gates because everyone was in bed. The arguments have more at stake, but are so one-sided because Gregory is written as pond scum that we know the outcome before Maggie and Jesus finish laying out their verbal traps. The episode does establish a new Savior outpost. We now have two good guys infiltrating the bad guys like the world’s lamest spies, sitting in the back of an open truck and chatting. Hilltop is staged for a feminist revolution, which we saw coming way back when Maggie first met Gregory. None of this is surprising. There were the emotions I expected in this episode, but other than that it failed to deliver much to the party. This isn’t the time to hit a lull. Not after a lackluster extended episode. Someone isn’t looking at the big picture again.