The Walking Dead – Season 3, Episode 12: “Clear”

AMC’s The Walking Dead
Season 3, Episode 12: “Clear”
Directed by Tricia Brock
Written by Scott M. Gimple

* For a recap & review of the previous episode, “I Ain’t A Judas” – click here
* For a recap & review of the next episode, “Arrow on the Doorpost” – click here
IMG_0069On the road, Rick (Andrew Lincoln) is with Carl (Chandler Riggs) and Michonne (Danai Gurira). They see someone on the road, somebody alive. But they choose not to stop. Carl doesn’t really understand, or he does and would rather not. Further up the road they find a bunch of smashed up cars, zombies inside, stuck under wrecks, and so on. The trio get stuck in the car, then they ‘re crowded by a horde of undead.
Rick shows his son a few tricks to get a car out of the mud, in case he ever finds himself in that situation by himself. The kid is a bit of a nag, though it isn’t for nought. Rick explains their “common interests” and that it’s all only temporary, as Michonne listens sitting in the car. The man from the road gets near, so they get going, leaving him calling to them in the road.
You can never be too careful. Each time is worse when Rick & Co. find other humans. Easier to avoid any new ones altogether.
IMG_0071They head into town and start looking for supplies. The armoury at Rick’s old station is cleaned out. Like, licked clean. Barely a single bullet rolling on the floor. They’ve got to figure out something else. Either that or they go up almost naked against the Governor (David Morrissey) and his army of men, women, and children at Woodbury.
The whole place is rough. Charred bodies and tanks of gasoline. Markings, warnings, mantras on the walls and arrows pointing along the sidewalks guiding a path. In the middle of town there are a number of obstacles setup, wooden poles fashioned into spikes, more warnings spray painted everywhere. Someone highly prepared, and maybe unstable, is camping out there, someplace.
From a rooftop someone fires at a walker, alerting the trio to his presence. He calls down and asks for them to drop their weapons and leave. Rather than that Rick fires, he and Carl hide, and Michonne, she makes her way up towards the roof flanking. The man, disguised in a helmet, comes after Rick then Carl drops him with a hard shot. Another bad ass Grimes in the family.
And who is the mystery man, covered in body armour? None other than Morgan (Lennie James). He’s booby trapped that section of town, including his hideout. Since last Rick saw him the guy’s gone crazy, that much is clear. The entire place is like a piece of tribal land, pitfalls and other nasty bits await. They make it through and put the unconscious Morgan in his apartment. Moreover, they find all the stuff from the armoury.
IMG_0076But Rick pities the guy who saved his life. His son isn’t around, that much is obvious; he turned. Morgan snapped somewhere along the way. The walls are covered in mad ramblings, as if the apartment is more a cell than a place to live. Remembering their past, what the guy’s done for him, Rick opts not to take all his things and leave. He wants to wait for Morgan to wake up. And so he isn’t a danger, they zip tie his hands and feet.
Poor Carl. Lots of people shit on him, and for a point when I first watched the series through as it aired I didn’t like his attitude. The more I watch, the more I realise he and other kids don’t get to be kids anymore. If you were a kid, no matter how serious the zombie threat, you wouldn’t just automatically become a ruthless killer of the undead. Not even after you’ve had to kill your own mom, either. Takes an adjustment. So what we see here, particularly after Carl looks at a map Morgan drew of the town – including their house, which is now BURNT OUT according to the drawing – is the loss of innocence, the loss of his childhood and his past. Not only is Lori dead, so are the memories of her, literally. The only memories of family which exist now for Carl Grimes is in his mind.
The kid and Michonne go off to find supplies, hopefully baby stuff. He tries to take too much responsibility while she is looking out for his best interests. Most of all, he’s trying to make that adjustment, he doesn’t want to be a helpless kid for others to save or take care of; this is a boy who wants to do his part. Even if he’s a bit stupid about it at times.
Back at the apartment, Morgan’s got a sneaky knife hidden under the bed and gets himself free. Rick fights him off trying to get through his psychosis. He gets stabbed for his trouble, but then Morgan begs to die. That’s fucking sad.
Rick: “You know me!”
Morgan: “I dont know anyone anymore!”
There’s a goodness we see here shine through more than ever in Rick. Despite everything, he still tries getting through to the crazy bastard. Once he holds up the walkie talkie Morgan remembers. He’s pissed Rick wasn’t there when he needed him.
IMG_0077Carl gets mouthy with Michonne, but she won’t quit. She’s determined to help him on his quest for whatever he needs. So they work together, using skateboard critters to distract zombies. When things don’t go as planned Carl lashes out. Then we see that snagged what he wanted – a picture of his family, with Lori, so that his sister will know her mother’s face. Plus, Michonne needed a multi-coloured cat statuette that looks hilariously awesome.
Then there’s Rick, who wants Morgan to come with them. Only the guy doesn’t want to go: “I have to clear,” he says, as if called to it by duty. He’s taking the death of his son, extrapolating, and then sort of letting the world rest all on his shoulders. Punishing himself, in a way. He wants to clear his mind.
The trio get back on the road again heading for home, some things for the baby, weapons, and a stab wound for Rick. More than that we find out he and Michonne have things in common; she used to see her dead boyfriend, just as he’s been seeing Lori. The start of a strong relationship, in many ways. On the road they see the man they left behind, now only a reanimated corpse
Rick (re: Michonne): “Everything okay with her?”
Carl: “I think she might be one of us
IMG_0083Love this episode, and love Morgan as a character! Very important to the series, then, now, again in the future.

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The Walking Dead – Season 7, Episode 13: “Bury Me Here”

AMC’s The Walking Dead
Season 7, Episode 13: “Bury Me Here”
Directed by Alrick Riley
Written by Scott M. Gimple

* For a recap & review of the previous episode, “Say Yes” – click here
* For a recap & review of the next episode, “The Other Side” – click here
Pic 1An ominous beginning. Ezekiel (Khary Payton), Jerry (Cooper Andrews), and Richard (Karl Makinen) load a truck, but only with a small crate inside. Is this a ploy to mess with The Saviors? I hope so. If not, we’ll find out eventually, either way.
Note: episodes written by Scott Gimple are usually exciting to me, so I expect a good one!
After the credits we’re back with one of my favourites, Carol (Melissa McBride). She’s having some bad dreams. Even if she hadn’t ever killed anybody, just existing in the post-zombie apocalypse world is enough to make you have nightmares on a regular basis. But she struggles with the choices she’s made. She’s a REAL, GENUINE character, instead of having her be another uncaring clone we’ve seen time and time again. This is why she is one of my favourite characters on The Walking Dead.
Meanwhile, Morgan (Lennie James) – another of my favourites – is teaching more of his martial arts style to kids, making sure they’ve got an alternative to just hacking and slashing. And then there’s Carol, who shows up at the Kingdom, hacking and fucking slashing like a true bad ass. She wants to have a chat with Morgan. She wants to know the truth about what’s happened, to her friends in Alexandria, involving The Saviors, so on. But he won’t answer her questions because they’re not his to answer. THIS is a reason I love Morgan, under all his flaws he has a strict moral code, one from which he doesn’t want to stray. Sometimes he does. Overall, he abides by that code more than anyone else in the series, even to his own detriment at times, and foolishly that of others. Still he is an important character, and one who’s been with us since the very start. He’ll have bigger things to do as time goes on.


At the Kingdom, Ezekiel receives word from a woman named Nabila (Nadine Marissa) that their crops have weevils, some of them. They have to get rid of a certain amount to save the rest. A slight setback, though they all seem to have a positive outlook on life in their little corner of the zombie ridden world. Nevertheless, Ezekiel’s mind weighs heavy, definitely in part due to needing to pony up so much produce for Negan (Jeffrey Dean Morgan). Perhaps the weevils are also symbolic, of the world outside never failing to work itself inside their Kingdom. Or in general, The Saviors are like weevils, and should Ezekiel choose not to help stamp out that pest, it may ruin everything.
Richard’s still trying to convince others they need to act, or forever deal with the repercussions. He leans on Morgan. Although Morgan’s trying to abide by that code as always it seems like he could sway. Eventually. Right now they’re headed out on a run. On the way they’re stopped by a blockage on the road, shopping carts lining the street. The crew head in to inspect. Out back of a store, they find a sign reading BURY ME HERE next to a grave waiting to be filled with a corpse.
Ezekiel: “It is mere luck we are not all insane
Benjamin: “It isnt luck, Your Majesty.”
Ezekiel: “Hows that?”
Benjamin: “The world does drive people crazy now. Butyouve made us another world.”
Nothing gets any better when they meet with The Saviors. Funny though, how those guys think they don’t bow to any king, president, prime minister. Yet they all say I AM NEGAN like a cult mantra. A standoff ensues once Ezekiel hasn’t brought enough for Negan’s men. Things get very tense. A lesson needs to be taught apparently. So now, one of The Saviors puts a bullet in Benjamin’s leg and sends them back to the Kingdom.


Carol receives them at her place. They put Ben on a table, but the blood is leaking out of him faster than anyone can move. Watching on, everyone, Morgan especially, fears the worst. Then, he’s dead and gone. This is really going to put Morgan’s worldview to the test. He’s on the brink of madness. He sits in the BURY ME HERE grave and nearly cuts his own wrist open wide. But chooses to live.
Turns out that Richard caused the whole thing, having tried to make a deal with Jared (Joshua Mikel) from The Saviors, backfiring when the guy chose to shoot Ben instead. Richard wasn’t able to put anything together, now he got one of his own killed. He tells Morgan the sad story of his days after the zombies took over. Everyone’s got one, it doesn’t make what he did any more sensible.
Can Morgan sit by idle? Can he let Richard use Ben’s death as a way to mobilise Ezekiel, the Kingdom? It isn’t right. This is something he can’t reconcile with his moral code. There’s just no telling what he’ll do with that in the long run.
When the crew bring their goods to The Saviors again, Morgan attacks Richard in front of everybody, choking him and beating him to death. A brutal, primitive moment from Morgan, the first in such a long, long time. Nobody even tries to intervene, for fear of what could happen. Afterwards, he reveals to them what Richard did, why he killed the man. But things can’t go on as they did before. Not for Morgan. This will irreparably change who he is, and in turn what he’ll do going forward. I can see it changing Ezekiel, too.


Morgan takes Richard’s body to the BURY ME HERE grave and buries him. After that he goes on a spree killing zombies with his staff relentlessly. He takes a detour, as well; down to see Carol. He tells her about killing Richard, about what Richard did to get Benjamin killed. Moreover, he offers to tell Carol the truth about what happened to the people in Alexandria – the vicious deaths of Glenn and Abraham, Spencer, Olivia; how Rick and the Alexandrians only live to satisfy Negan these days. He also reveals that Rick & Co are gearing up to fight Negan and his Saviors.
Morgan: “You wanted to know. Now you do.”
With Morgan on the road again, Carol goes to visit Ezekiel. She wants to live in the Kingdom. To get ready for the coming fight. But even just for a moment they’ll live peacefully. Until the time for more blood comes. And that’s very soon.

Pic 11Great episode! Probably one of my favourites in the back half of this season. I always love Morgan-centred episodes, or anything involving Carol. And I do love to see Ezekiel change, he’s an excellent character worthy of the series.
Excited for “The Other Side” next week!

The Walking Dead – Season 7, Episode 2: “The Well”

AMC’s The Walking Dead
Season 7, Episode 2: “The Well”
Directed by Greg Nicotero
Written by Matthew Negrete

* For a review of the Season 7 premiere, “The Day Will Come When You Won’t Be” – click here
* For a review of the next episode, “The Cell” – click here
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Morgan (Lennie James) and Carol (Melissa McBride) are being led to safety by a couple men in body armour, the ones they last met in the end of Season 6. On the road they’re overrun by walkers. Injured Carol is toppled off a cart they were carrying her on, though in her usual style she doesn’t stay down long, stumbling off through the nearby woods. Where the fuck are you going, Carol? She sees a woman in a window calling her. Only it’s not a woman, it’s a zombie. Luckily more people on horses show up to clear out the walkers. However, Carol’s only able to see them as people. Oh, man. Her apocalypse has been an absolute nightmare compared to that of others. Morgan keeps marking their way, so that there’s a possibility of heading back. Although I don’t see that happening any time soon.
Finally Morgan and Carol get to take a rest, in a real place again. She lies recuperating in an actual bed. Wind chimes in the window. A sort of surreal moment. Plus, she’s been sleeping a couple days. Only natural. They’ve been brought to a true community, with a bunch of crops, what looks like a schoolhouse, and clearly a clinic of sorts. They’re in the Kingdom, as the locals call it.
Then Carol gets to meet the leader of this place, King Ezekiel (Khary Payton). He’s got a nice pet tiger, too. Named Shiva.
Shit’s about to get real, mama.

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Ezekiel talks like he’s in a Renaissance Fair, referring to their home as “the realm” and y’know, having a tiger around on a big chain, sitting on a throne. He’s definitely a bit much to take in at first. Definitely quite the character, in all sense of the word. No bullshit Carol tells him “I dont know whats going on in the most wonderful way.” The King lays it out that everyone does their part to earn their keep, and anything the Kingdom reaps is theirs to enjoy. This episode’s title comes from Ezekiel’s analogy of having to take from the well and also replenish the well. For the time being Carol plays into the whole medieval nonsense this guy has going on. I can’t help but wonder, as a man with his own mental illness duo: is this guy okay? Morgan wants to believe, so god damn bad that he’s willing to follow along. Of course we know Carol has no time to deal with this kind of shit, even before she makes it known.
A few of the Kingdom’s members rally together some pigs that went running lose. Side note: lot of great zombie makeup effects that could easily go unnoticed, if you take a second and pause there’s magnificent work to appreciate. On their outing Morgan proves to be a friend of the Kingdom, helping out a younger man surprised by a walker. Ezekiel enjoys Morgan’s skills with the staff; real recognises real and bad motherfuckers know one when they see one. He even gets Morgan to agree to train the kid he helped out, Ben.
Yes, the Kingdom is a place to behold. A local choir group sings a rendition of Bob Dylan’s “Don’t Think Twice It’s All Right.” Carol has a look around, nabbing herself a knife on the sly and pretending to be a good little citizen, excited over “cobbler” and other yummy foods compared to possum and the nasty shit they survived on. She’s tricky, man. Dig it. Snags a set of clothes, as well. Looking forward to her getaway.
Some of the Kingdom’s secrets are revealed to Morgan, as we see they hand over their well-fed pigs – full with walker guts – to whom I can only assume are The Saviors.

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Morgan eventually finds Carol gone in the wind. She runs into Ezekiel, though. They end up having a private conversation, as he talks a little straight with her. He knows her game. They speak of the Saviors, about her survival tactics. I love how straight shooting Carol is, not afraid to call Ezekiel a straight up “joke” to his face. She questions his motives for acting like a King, let alone all the semi-medieval speak (he’s just talking fancy he isn’t even talking Middle English or anything). But finally he drops the whole thing, levelling with Carol about how people simply want someone to follow. It’s all a cult of personality. But what if that cult of personality served a good purpose, such as the Kingdom? Sure, he has his ass kissed like Carol calls him out, although they’ve built themselves a community. “I faked ittill I made it,” he admits. We find out that Shiva had a near fatal injury. Ezekiel saved her life, which bonded them together eternally. There’s also the fact Ezekiel once did community theatre, so he has them acting chops. At first I thought he was a bit of a nob. Now I actually really like him.
So will Carol stay, or will she (should she) go?
She’s decided to leave, it seems. More effective and happier on her own. Morgan rides with her out onto a nearby road. They say their goodbyes and she heads up to a house where she’d seen the woman earlier. She buries her in the front lawn then makes a fire inside. At the door comes knocking Ezekiel, apple in hand. I have a feeling these two are going to become better friends. Maybe he’ll convince her to come back to the Kingdom. I hope so.


This was a solid episode. Nothing crazy, just bringing us into the world of the Kingdom.
Excited for next week. Following episode is titled “The Cell” and I’m wondering who the focus will be on this time.

A Guy Ritchie Retrospective: Snatch

Snatch. 2000. Directed & Written by Guy Ritchie.
Starring Jason Statham, Brad Pitt, Benicio Del Toro, Dennis Farina, Vinnie Jones, Rade Serbedzija, Alan Ford, Mike Reid, Robbie Gee, Lennie James, Ewen Bremner, Jason Flemyng, Ade, William Beck, & Andy Beckwith. Columbia Pictures Corporation/SKA Films.
Rated 18A. 104 minutes.
Comedy/Crime

★★★★★
POSTER It’s been at least 9 years now since I’ve watched Guy Ritchie’s Snatch. A one of a kind film. Except not really. Only in the sense of being set apart from other movies, as Ritchie writes stories that all seem to revolve around the same seedy criminal underbelly of London and the surrounding areas. There are some who say Ritchie is too much like Quentin Tarantino. To them I say it’s like comparing apples and oranges. Sure, they each tell tales set in the crime world, they each have a pulpy style, but they couldn’t be more different. Tarantino has this almost classic sensibility that translates into his own brand of filmmaking. Likewise, Ritchie has his own brand it’s just entirely another kind of exciting. And as much as I love Lock, Stock, and Two Smoking Barrels, as well as his later work, Snatch. is always going to be the best example of his directing.
Weaving together a number of stands, Ritchie brings out an elaborate crime plot that encompasses a bunch of classic British humour, odd characters, and best of all everything seems to hinge on that nasty old bitch named Irony and a bastard named Fate. The pacing of the script keeps things interesting and the way Ritchie moves around with his style as director constantly holds the viewer’s attention.
Personally, I’m not a huge comedy fan. Not because I don’t like to laugh, in fact the opposite; I’m always laughing. There’s just never many films that speak to my fucked up, weird sense of humour. Somehow, Ritchie does. Perhaps it’s the relation Canadians have to British movies and television, and that’s why I enjoy this sort of comedy. Or maybe Ritchie and his wild writing appeals to me. In that sense, he and Tarantino are definitely similar. Either way, Snatch. is in a league all of its own.
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The dialogue throughout is downright amazing. Part of that is because I love the British accent and I feel like Ritchie uses this to his advantage. All around, though, it’s pitch perfect. It’s not even quirky, it feels so real. Love every last bit that comes out of Turkish (Jason Statham). Makes me sort of sad that Statham didn’t keep doing these types of movies, not that he has to do one thing forever – which he kind of does now anyway – I just love his comedic timing, as if Ritchie writes specifically for his talents. There are too many excellent scenes. Lots of actors with comedic timing for days, not just Statham. Brad Pitt does a fantastic bit of work as the gypsy bare knuckle boxer and there are times he has me in stitches, such as the quick “dags” exchange with Tommy (Stephen Graham). Together, Lennie James and Robbie Gee as Sol and Vinny respectively work wonders as a pair – their bits in the car with Tyrone (Ade) honestly fucking slay me. Finally, Alan Ford makes Brick Top into both a horrific British gangster, and also one of the most hilarious criminals with his tendency to talk down to everybody and those massive frames that make his eyes look like an angry fish. On paper, Snatch. is good enough. With this sort of cast the words are in more than capable hands.
The best of all? Vinnie Jones. His character here is even better than his previous one in Ritchie’s Lock, Stock, and Two Smoking Barrels. He nails it, right on the nose. He’s another one whose presence is imposing, in part due to his massive size. But also his acting is intense. Aside from that Jones injects a generous dose of laughter in amongst his scary delivery.
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If anything I’d compare Ritchie to Martin Scorsese. For many reasons. One is their use of music. Tarantino has his own thing, but Scorsese and Ritchie have a highly similar sense of how they use music. They use rock and popular music, though there’s less of an ironic or iconoclastic sense in the way Quentin often uses a soundtrack (think: Reservoir Dogs ear cutting scene to Stealers Wheel). Here, it’s like a part of the chaos, playing another role like how Scorsese often uses The Rolling Stones (among other bands and songs). For instance, there’s such a fitting, beautiful quality to the sequence when George gets knocked out by Mickey O’Neil (Pitt) and “Golden Brown” by The Stranglers plays. Then just the natural feel of some of the other songs works incredibly with so many of the various scenes.
Aside from Ritchie’s similarities to Scorsese in music, he also gets some influence for his frenetic sequences from the master. This is especially useful because of the large ensemble cast. With all the threads in the plot, Ritchie keeps things rolling with a steady pace. These chaotic moments help move the plot along and you never feel as if the movie drags. The big portions of what we need to know, as in the fine details, come in between the major sequences. After which we’re thrown into stylized segments where Ritchie uses more of the soundtrack to push the film’s energy. There’s one particular moment I love where we cut back and forth between Brick Top’s boys getting Tyrone and two wild dogs chasing a hare; the parallel is poignant, and the song on top makes it all feel lively. A major difference where Ritchie diverges from one of his obvious biggest influences is in the way he uses visual storytelling as opposed to narration. Of course Scorsese doesn’t always use a narrator. However, his popular crime stories which likely influenced Ritchie – GoodfellasCasino – relied quite a bit on a strong narrator. Instead of telling bits of the story through narration, Ritchie opts for a little bit. Then through other scenes he instead shows us what a narrator would only give you through exposition.
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The comedy and the crime comes in equal amounts throughout. Ritchie loves to show another side of crime that we don’t always see in stuff from someone like Scorsese. There are the good criminals who know what they’re doing. Then there’s the lot like these fellas. Most of whom can’t see far enough ahead of themselves to make sure they don’t fuck all their own plans up. Even Brick Top, in all his gangster wisdom, relies on a gypsy bare knuckle boxer to get the job done. Witnessing the constant, consistent ineptitude of many of these characters is spot on comedy.
Everything comes together on its own in the script. Yet the scene just before the final half hour begins shows us perfectly how fate brings everything to a central focus. As the three different cars drive, we see the one way it unfolds through all three perspectives, and it’s just so well written that I had to watch it again a couple times. May even be the best scene of the entire film, but that’s a hard choice to make.
In all, even after almost a decade of having not seen it, Snatch. is a modern masterpiece of crime cinema. Not only does it have the chops of an excellent crime film, the comedy makes every last inch worth it even more. The cast continually impresses from one scene to the next and Ritchie’s writing only gives them dialogue to chew on endlessly. His direction stylizes the film. Although it never glamorizes crime. The opposite, really. And with his stylish qualities Ritchie makes a riotous script leap off the page, grab you, keep you glued. By the finale, Snatch. further opts to get a little serious before cluing things up. So there’s an element of everything, from crime to drama to comedy to thriller. Point is, Ritchie is a versatile director even if he prefers telling stories about the British criminal underworld. Much as I enjoy the rest of his filmography recently, these are always the types of movies I love to see him making. This is a slice of film heaven I won’t ever forget, one that never ceases to make me laugh.

The Walking Dead – Season 6, Episode 14: “Twice as Far”

AMC’s The Walking Dead
Season 6, Episode 14: “Twice as Far”
Directed by Alrick Riley
Written by Matthew Negrete

* For a review of the previous episode, “The Same Boat” – click here
* For a review of the next episode, “East” – click here
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With only two episodes after this left to Season 6, we’re all left wondering: when will Negan (Jeffrey Dean Morgan) rear his terrifying head?
Rick Grimes (Andrew Lincoln), Daryl Dixon (Norman Reedus) and the rest of the gang are still holding on. After the tense episode last week, Maggie (Lauren Cohan) and Carol (Melissa McBride) are safe and sound. But how long are any of them safe, after massacring members of The Saviors in the past couple episodes?
In Alexandria, though, things are going on normally. Father Gabriel (Seth Gilliam), Eugene (Josh McDermitt), everyone else goes about their business. Whereas Morgan (Lennie James) is doing cement work; he’s made a nice jail cell. When he and Rick talk again, the latter simply asks: “Why?” Morgan believes it’ll give them “some choices next time“, instead of flat out murder. But Rick doesn’t seem particularly interested. We watch the daily routine go on. Sasha (Sonequa Martin-Green) watches the wall, Carol still holds her rosary beads. Rosita (Christian Serratos) and Spencer (Austin Nichols) are sleeping together. So, certain things change, others stay the same.
At least Daryl’s got his bike again. That’s one shining bit of light. He and Carol have a little chat together, and Daryl make it clear he’s not above killing, not anymore. This doesn’t sit well with the new woman Carol seems to be becoming.


Daryl: “Whatd they do to you?”
Carol: “To us? They didnt do anything.”
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Dr. Denise Cloyd (Merritt Wever) knows of a possible apothecary near Alexandria. She wants to check things out, seeing as how there are drugs likely there. Denise asks Daryl and Rosita to check it out on a run. They don’t want her to go, but she says it’s happening; with or without them. On the way, Denise criticizes Daryl’s standard shifting techniques – a hilarious little scene between a couple characters we don’t really see interact. We also see the difference in those from Alexandria who still aren’t perfectly independent and those from Rick’s group/Abraham (Michael Cudlitz) and his little crew. Yet Denise is a hard ass and wants to push her limits. On she goes with Daryl, as Rosita bucks their plan and heads down some railroad tracks.
Meanwhile, we get a bit of Abraham and Eugene together. The first time in a long while. “Ive changed, adapted,” says Eugene: “Im a survivor.” For his part, Abraham isn’t exactly sold on that fact yet. Soon enough, Eugene finds the perfect place to “manufacture bullets” – this brings us into a real life situation people might find themselves in after a zombie apocalypse. We know that after so long, to have any weaponry useful, survivors would have to find a way to do just that: make bullets, or die. Or y’know, something with a little less hyperbole. Still, people would need to discover a way to find or produce bullets, else they be left with sticks and sharpened blades and the like. Between all this, Eugene lets Abraham know his “services are no longer required” and tries to take the reins of his own life. Doesn’t fly too hot with Abe. Right after he saved Eugene from a zombie with molten metal on top of his skull; one of the creepiest walkers in a good long time.


Abraham: “That son is some damn fine genuine outsidethebox thinking


Denise, Daryl and Rosita find the apothecary, and inside a pharmacy. The jackpot – tons of medication, pills, et cetera. Daryl decides they’ll “take it all” and they go about packing things up. Only the sound of walker comes nearby; Rosita and Daryl pass it off, but Denise is curious, perhaps too much so.
When Denise goes to investigate, she finds a zombie, emaciated on the floor with a cast on its leg; on the wall the word HUSH written over and over. In a sink sits a drowned baby, bloody water and all, with a cute little foot stuck out. This event really does Denise in, and though she tries putting up a tough front it obviously affects her deeply. The other two are gentle with her, but Rosita’s kind of raw. Daryl and Denise chat a bit and we glean she likely had a brother named Dennis. Something about him lingers with her.
I dig this episode because we get bits of the other characters, instead of constant focus on only Rick, Carol, the main survivor group. Denise is an interesting character who deserves more attention and recognition, which she gets here. Except often on this series, characters who get too much focus end up in a bad place, either dead or injured. She forbids Daryl and Rosita to help, instead stabbing a zombie when it nearly gets her. She wants to be bad ass, and does anything she can to prove it. Then she pukes a little.


Denise: “You wanna live, you take chances; thats how it works. Thats what I did.”


Out of nowhere Denise takes a arrow through the back of her head. From the woods come a group of people who have Eugene hostage – the one who stole Daryl’s bike all those days ago, Dwight (Austin Amelio). He’s still got that crossbow, too. His face is a little worse for wear, but he’s alive. They’re looking to make a trade, or do something, as they’ve got Eugene in tow. Along the fringes of the forest is Abraham. Yet Dwight wants “whatever and whoever” they want from inside Alexandria.


Daryl: “I shouldve killed you.”
Dwight: “Yeah, you probably should have.”


But Eugene pulls out a wild move, biting Dwight in the dick and balls; harder than hell. This allows Abraham a shot, as well as gives Daryl and Rosita a chance to grab some guns. A firefight ensues, and walkers emerge from out the forest.
The survivors walk away. Some of them. With Eugene injured, the remaining trio tries to pick him up and make off back home. Luckily Eugene’s not dead, but he’ll have a bit of an infection. “I apologize for doubting your skills,” Abraham says to him: “You know how to bite a dick.”
The episode finale sees Abraham admit his feelings for Sasha, deciding that even 30 years would be “too short.” At the same time, Carol and Daryl bury Denise near the wall; another death that has affected Daryl deeply, even while he tries not to show it. This episode has been all about the human relationships of Alexandria, as well as the routine of this life – threat, defend, threat, defend. Furthermore, Carol’s finally crumbling under it all and doesn’t want to have to kill for anyone, not anymore. And it seems she’s headed elsewhere. Will that same sentiment take Morgan away, too? The pacifists are coming out, most surprisingly in Carol. So is the choice stay and keep killing, or leave and take your chances? If so, that’s a tough one. For anyone.


Carol: “I cant love anyone because I cant kill for anyone. So Im going like I always should have. Dont come after me please.”
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Only two episodes left. The next one is titled “East”, and brings us one step closer to the finale. And also towards the ultimate threat: Negan.

The Walking Dead – Season 6, Episode 12: “Not Tomorrow Yet”

AMC’s The Walking Dead
Season 6, Episode 12: “Not Tomorrow Yet”
Directed by Greg Nicotero
Written by Seth Hoffman

* For a review of the previous episode, “Knots Untie” – click here
* For a review of the next episode, “The Same Boat” – click here


This episode begins with Carol (Melissa McBride) in the civilized society of Hilltop, getting food ready, looking through what food they’ve already got on hand. In the woods, she keeps her killing game strong. When she sprays herself with blood – no worries, there’s a bunch of fresh shirts at home. She brings some cookies to Tobin (Jason Douglas) made from beet and acorn: “Theyre amazing,” he tells her after being coaxed into one.In pulls Rick (Andrew Lincoln), Michonne (Danai Gurira), and the others. When Carol asks what’s happening, Rick only tells her: “Were gonna have to fight.”
Out comes Morgan (Lennie James). He and Carol have a chat about what he did, re: the last Wolf. She’s obviously more concerned about what Rick said than anything. The time for baking cookies is over.
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Rick holds an Alexandria town meeting. He lays out the problem with The Saviors, including their run-in with Sasha (Sonequa Martin-Green), Abraham (Michael Cudlitz), and Daryl (Norman Reedus). Along with him is Jesus (Tom Payne). Rick talks about the deal, the food they’d receive. Nobody seems to object. Yet Morgan alone stands up and asks if Rick is “sure” whether or not they can beat this Negan and The Saviors. Democracy prevails, as Rick says it’s everyone’s choice. Aaron (Ross Marquand) says he’ll do whatever it takes to prevent another massacre in their town.
Carol sits alone with a book she keeps. Recorded with how many people she’s killed; she circles the number 18. We’re starting to see the other side of Carol we’ve not seen in a long time. One who is remorseful and pensive. Carol talks with Tobin who believes her strength comes from being a mother, taking care of others and capable of doing anything necessary; things he says “terrify” him. He cares for her, and they share a kiss.


Rick: “We kill them all
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Abraham and Rosita (Christian Serratos) argue, as he walks out on her. Harshly, he ends their relationship; clearly in love with Sasha. So sad Abraham handled it this way. Meanwhile, Tara (Alanna Masterson) says the three magic words to Dr. Denise Cloyd (Merrit Wever), and they’re simply afraid to lose each other with the upcoming journey and mission towards Negan.
At the same time, Glenn (Steven Yeun), Maggie (Lauren Cohan), Daryl and Rick get a map drawn for them into Savior territory. The plan is set. Or is it?
With the group out on the road, little groups are splitting up to canvas the area. Rosita and Carol have a chat about the Wolf situation. But we know Rosita has other issues happening. Glenn and Heat (Corey Hawkins) talk about “killing someone“, getting more of the sense of how humanity changes the further people get into the zombie apocalypse.
Soon, Rick outlines what they’re about to do, and they agree to just have a look, check things out. If things look ripe for the taking, they go: “This is how we eat,” says Rick. To the side, Carol tells Rick that Maggie ought not be out there with them; at all. Probably a good point, Carol.
The plan involves bringing The Saviors the head of Gregory. They find a proper walker head, which Rick has to punch a good deal to make look appropriate. Then they’re off. We get a glimpse of The Saviors. Creepy, intimidating dudes. That is until Daryl slits one of their throats, and the operation really gets underway.


The savagery of this episode is incredible. Between the macabre Johny Depp-mold they used for  one of the fake Gregory heads, to the sequence where Rick and the others bust into the territory of The Saviors – tons of knives to the head. Everything is gruesome, yet so much is offscreen horror. Brutal and vicious, but not in the sense of showing everything. Worst of all is seeing Glenn first put a knife through a guy’s head, the look on his face is devastating. But like the man he is, prevents Heath from having to do the same, and takes another one for the team.
Abraham and Sasha get ambushed by a man. They kill him, but not before he throws the switch to an alarm. Out on watch, Carol refuses to let Maggie go and help; is this a different side of Carol emerging? One dedicated to life?
Inside the complex a gun battle erupts. Rick and his crew fight for their lives. Blood and bone flies. People are shot, stabbed, beaten to death. Corpses litter the corridors, blood stains everything.
In Alexandria, Morgan is busy building what looks like a cage. Is he going to do what was done to him? Will he try putting Rick in there? Or is possibly for Negan, intended to be a better alternative to murder? We’ll see.
Once the smoke clears, Michonne wonders “which one was Negan” and Rick sort of shrugs. One last person a motorcycle clues the group into someone watching, talking on a radio. And they’ve got Carol. Maggie, too.


The next episode, “The Same Boat”, is bound to be exciting. There could be some trobles ahead. Some very terrifying troubles at that.

The Walking Dead – Season 1, Episode 1: “Days Gone Bye”

AMC’s The Walking Dead
Season 1, Episode 1: “Days Gone Bye”
Directed by Frank Darabont
Written by Frank Darabont; Based on the comics by Charlie Adlard, Robert Kirkman & Tony Moore.

* For a review of the following episode, “Guts” – click here
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The very first episode of The Walking Dead begins almost exactly like the comics. Almost.
Sheriff Rick Grimes (Andrew Lincoln) stops his car on a deserted stretch of road. Cars are overturned everywhere, left in any place here or there. With a Jerry can in hand, Rick heads through a quasi-tented city made of tarp and cars. Then he sees a bunny slippered young girl in a bathrobe shuffling along the street. He calls – “Im a policeman” and “dont be afraid” – but when she turns around, it’s a zombified little creature, half a mouth. Still dragging a teddy bear.
So the initial scene with Rick Grimes, where we’re introduced to him, takes a little step back from the comics. Then shifts gears after watching Rick blow a little zombie girl away. Amazing, intense opener for this series when it first premiered. I remember it really got my attention.
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Afterwards, we cut back to Sheriff Rick actually working. In the seat next to him is Officer Shane Walsh (Jon Bernthal). They talk about women, as men often do when they’re alone. This is now pretty much where the first comic started out. We get Frank Darabont elaborating these opening moments, drawing out the relationship between Shane and Rick before the world goes to shit. Nice move. Soon we move to the gunfight, where Sheriff Rick and his second-in-command Shane come up against fleeing criminals.
And then Rick takes a bullet, putting him down. The first one doesn’t do the trick. Another one from behind misses the vest and nearly blows a hole through his side. Here commences The Walking Dead.
We watch as Rick sees Shane hover above him. Eventually, Rick wakes up thinking he’s there. Only the flowers Shane brought are dried, dead.Something terrible has happened. The clock doesn’t even work anymore. Stumbling out into the halls, he discovers the entire hospital deserted. Not a soul is there. He’s also aware of having grown a beard. The world is different now, only it seems Sheriff Grimes was the last one to figure it out. Not to any fault of his own. In a hallway, the mutilated body of a woman sits on the floor and Rick realizes life has changed drastically. Bullet holes line the walls. A door is barricaded at the end of a hallway with the inscription DON’T OPEN, DEAD INSIDE scrawled across it in spray paint.
Seeing Rick outside in the world, walking past rows of covered bodies, then panning out to a wide shot of the hospital where we can see him lost among an almost-field of them. A little further and he finds evidence of a military operation. Abandoned. The world is truly done. His first confrontation with a zombie sees him taking a bike, the half-body crawling towards him in a disgusting heap. Back at the Grimes house, Rick finds nobody. And the world gets a little worse again, at least for him.
The most difficult is when Rick isn’t sure whether or not he’s dreaming. It’s tough to imagine waking up to a world like that.


A man named Morgan Jones (Lennie James) and his son come across Rick. The boy actually cracks him with a shovel. Waking up, for the second time in an unfamiliar place, Rick is tied to a bed back at Morgan’s place. Or the spot where he and the boy are holed up currently. It’s clear Morgan does not trust too many people. Not nowadays. “Did you get bit?” he asks Rick, who for his part doesn’t understand what any of that means. Things get friendly after awhile. Morgan appears to still have a civil nature, correcting his son speaking improper English, his son insisting on saying a blessing before eating supper. Rick couldn’t have been jumped by better people. Especially considering he needs to be explained a bit about the world, as it is now. Here we get the first time “walkers” is used – from Morgan. Rick learns about how to handle the zombies, particularly the need to take out the head. Of course it’s not an easy adjustment, learning to kill people. Even if they’re not actually people any longer.
One creepy sequence sees a zombified Mrs. Jones come to the door, slowly, trying to turn the knob. It’s not their home, but she died there after things went bad. Morgan believes he “shouldve put her down“. Who could do that, though? Not as easy as it seems for those of us watching zombie films and reading the comics. If it were real, the decisions would come harder.


When Rick and Morgan part ways, he gives the latter a police radio. This will become an important link between these two for a while to come. Their moment of departure is a nice one, on amicable terms, and it’s clear they’ve bonded. One of the first important relationships of the series to come.
Rick heads out on his own. First, back to find the half-zombie from earlier and put her down: “Im sorry this happened to you,” he tells her. Morgan starts target practice from the upstairs window, as his terrified son Duane hides downstairs. Until suddenly he sees his wife in the crosshairs, almost looking into his eyes; Morgan can’t manage to pull the trigger, though. It’s not something he can do just yet, if ever.
On the highway outside Atlanta, former Sheriff Grimes tries to reach someone, anyone on the police radio. At a nearby camp some people pick him up – several wide-eyed people are clearly astounded to hear his voice, including Dale Horvath (Jeffrey DeMunn), and former Officer Shane Walsh. Although, they can’t exactly get Rick on the radio, only static keeps coming through.
It also happens to be that Rick’s wife Lori (Sarah Wayne Callies) and son Carl (Chandler Riggs) are also at the camp site. Unfortunately, Shane seems to have everybody locked down and plans of going to search for the voice on the radio are vetoed. Turns out Shane and Lori are involved now. A tragic thing we’ll be dealing with for seasons.


On the road, Rick comes across more macabre sights including a family dead by murder suicide, GOD FORGIVE US scratched on the wall behind them. To see the strain of this type of situation bear down on a man who, until the past couple days, was in a coma and unaware of the crisis, it’s a wild ride. Emotionally we’re seated right alongside Rick.
Perhaps my favourite part of “Days Gone Bye” is near the end where he comes across the horse. Aside from Morgan and Duane, this is the only living creature Rick has encountered that wasn’t trying to eat his flesh right off the bone. So it’s a fun, tender moment. Not only that, we’re also brought back to the Wild West, the Frontier Days, as Rick hops backwards in transportation, to an earlier time. And it’s fitting because the world is wiped out. Humanity takes a step back, so may as well put Sheriff Grimes on a horse and ride him into Atlanta.
In the city the streets are deserted. Like everywhere else.
But a horde of the undead stop Rick, his horse, around the corner of a city block. They swarm him. The poor animal doesn’t make it out. Although Rick does. Just barely. Hopping into a tank on the street, he manages to find temporary refuge. When things seem to have gone as far as they’re about to go, a voice comes over the radio: “Hey you. Dumbass. Yeah, you in the tank. Cozy in there?”


Excited to rewatch the rest of these episodes. Up next is “Guts” where we’ll find more characters, more zombie apocalypse and plenty of horrific action.

The Walking Dead – Season 6, Episode 8: “Start to Finish”

AMC’s The Walking Dead
Season 6, Episode 8: “Start to Finish”
Directed by Michael E. Satrazemis
Written by Matthew Negrete

* For a review of the previous episode, “Heads Up” – click here
* For a review of the next episode, “No Way Out” – click here
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After last episode, we’re all eager to see how the Alexandrians band together once the wall came crashing down.
This episode begins with young Sam (Major Dodson) up in his room, listening to Tiptoe Through the Tulips on a vinyl, as tons of ants crawl around the window and down to food he’s left rotting. Strange, though, the fact he lays an empty plate at the top of the stairs.
Meanwhile, outside the tower has fallen into Alexandria and torn one of the walls down completely. Rick (Andrew Lincoln) is on the frontline, alongside Deanna (Tovah Feldshuh) who seems determined to help him. Then there’s Maggie (Lauren Cohan), she manages to climb the ladder up to one of the watch posts, but halfway up the dead almost take her. She gets there, though.
Eugene (Josh McDermitt) almost gets eaten, except for Rosita (Christian Serratos) who blasts him out of it. Even Rick and Deanna, plus others, get saved by Jessie (Alexandra Breckenridge). After they’re all inside, what’s meant to happen next?
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Watching on in horror, Glenn (Steven Yeun) continually has to try and talk Enid (Katelyn Nacon) into not leaving. But Glenn goes on regardless, whether or not she does too is left to be seen.
I’m wondering what’s going to happen with Sam. As the carnage comes back to his house, Deanna injured and general chaos boiling over, the poor kid looks messed up. He’s barely been outside, let alone seen any of the “monsters“, as he calls them.
Morgan (Lennie James) and Carol (Melissa McBride) end up back at his place during the onslaught. She does not particularly trust him, and wants to find out what’s happening in his basement. Downstairs, with Morgan staving off Curious Carol, there’s Dr. Denise Cloyd (Merritt Wever) having an eerie conversation with the remaining Wolf (Benedict Samuel). He’s pretty much at their mercy, but doesn’t appear to care about any of them. Still, Denise starts out to help him.
Michonne (Danai Gurira) is tending to Deanna’s wounds at the Anderson house when she and Rick discover a bite on her waistline. All Deanna has to say: “Wellshit.” Sad to see her go, honestly. Some may not enjoy her character. I liked the way she was envisioning a future for Alexandria, whether or not its entire structure survived ‘whatever comes after this’. There’s a great little scene with Deanna and Michonne, which gives more depth to Deanna as a character, even on her deathbed(/couch). You can see how much she cared, as the life literally slips out of her.


In the Anderson garage, Carl (Chandler Riggs) goes to talk to Ron (Austin Abrams). As always, dickhead Ron comes on with aggression. He tries to go for his gun, but Carl smartly counters before anything can happen. They wrestle for a bit until Rick and Jesse make their way inside. All the noise makes the zombies take notice, and Ron has doomed his own house. The dead come crashing through the gate and into the garage. Even after all that, though, Carl lets it slide. But he speaks plainly to Ron in private, after taking his gun: “Look man, I get itmy dad killed your dad. But you need to know somethingyour dad was an asshole.”


Deanna and Rick have a very intense, deep conversation. She explains a few things to Rick, about how they’re all HIS people out there. He is them, they are them together. It’s a hard thought for Rick, I think. Because he’s already shouldering everything, all the time. It’s almost as if Deanna places the survival of society as a whole on Rick.
Back at Morgan’s place, Carol pulls a little bait-and-switch tricking him. She runs downstairs to find out what’s going on. But we quickly cut to the Anderson house, as Rick, Michonne and everyone else are pushed upstairs. They bar off the stairs while Rick starts getting a couple zombie corpses to smear themselves with to get over to the armory. We cut back and forth between the people in the Anderson house to a showdown between Carol and Morgan – he will not let her kill the last Wolf, he keeps spouting off how “life is possibility” and so on, all those things he was indoctrinated into while captive a long way back on the road. It’s a tense situation.


Deanna: “Someday this pain will be useful to you. They need you: go.”
Michonne: “Thank you
Deanna: “For what?
Michonne: “For believing
Deanna: “I still believe. I cocked it all up, but I figured it outwhat do you want? Now you figure it out
Michonne: “I will
Deanna: “Good. Giveem hell.”


The final Wolf keeps telling Carol and the others: “You’re not supposed to be here.” We all know he needs to die, Carol knows that. However, Morgan’s not willing to let that happen. He and Carol have a fight, he knocks her out. Then the Wolf knocks him out, pulling a knife off Carol and holding Denise at the end of his blade. As the others at the Anderson house smear dead human blood and meat all over themselves, the Wolf is interrupted by Tara (Alanna Masterson) and Rosita with their guns drawn. He now has Denise as a hostage, backing out into the nasty zombie apocalypse. That’s a bummer, I really like her. I hope she gets away from him.
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Then we get another scene where Rick and the survivors make their way out of a horde with zombie guts all over them. A really great montage with excellent music from Bear McCreary. Very inspired sounding stuff, as well as ominous; great electronic sound happening, fitting for the vibe intended. Plus, we also see Deanna take a final stand upstairs, opening the door to willingly face the walking dead down with her gun instead of committing suicide.


The end of this episode is sort of low-key. While the last montage is pretty intense overall, we end with Sam calling out to his mom before things go to black. Sort of a bittersweet ending, as we barely saw any of Glenn/Enid, nor did we get ANY look at Daryl (Norman Reedus) & Co. Either way, I loved this episode, and I don’t think it’s deserving of people whining saying nothing happened, et cetera. Lots happened. Also, what do you expect in the post-zombie world? Mostly struggle ahead. Nevertheless, the teaser for the second half of the season wets our appetite Jeffrey Dean Morgan’s Negan and hard times ahead for the group. Lots to look forward to! And we do at least see Daryl, Abraham and Sasha run into some of Negan’s crew, an ominous tease for the second half of Season 6.


I’ll see you all again on Valentine’s Day, when The Walking Dead returns in all its horrifically oozing glory.

The Walking Dead – Season 6, Episode 7: “Heads Up”

AMC’s The Walking Dead
Season 6, Episode 7: “Heads Up”
Directed by David Boyd
Written by Channing Powell

* For a review of the previous episode, “Always Accountable” – click here
* For a review of the next episode, “Start to Finish” – click here
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Finally we’ve made it to “Heads Up”, where hopefully things unresolved start to come together, such as where is Glenn (Steven Yeun)? And what about Enid (Katelyn Nacon)?
Starting off, we hear “Thank you“, and this episode commences as Glenn slides under the dumpster he fell off. Meanwhile, Nicholas (Michael Traynor) is eaten alive by zombies. I always knew this was the case, now I don’t have to keep saying YOU’LL SEE.
Funny enough, though, as this tough beginning plays out there’s an almost beautiful piece of music overlaying everything. Watching Glenn struggle underneath the dumpster, seeing the dead eyes of Nicholas staring back at him, undead arms clawing to get at his flesh, it’s very intense. But once the smoke clears, so to speak, we get to rejoice a little. Sure, you can worry about Glenn more and more. For now I’m happy to enjoy this brief moment in time where Glenn survives. Moreover, Enid shows up to toss a bottle of water down to the poor dude. She doesn’t seem so interested in him, nor does she come across as particularly pumped to go back to Alexandria. Judging by the food on the floor, opened cans and empty wrappers, she’s been camped out there more than once. I feel even worse for Glenn because he doesn’t know what’s going on back in their little suburb, he isn’t even totally concerned with himself at a time when he almost just died. Goes to show how determined of a man Glenn is, how caring and loving he is no matter what personal trials he’s having to endure.

Enid: “What happened is what always happens: people died.”
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In Alexandria, Rick (Andrew Lincoln) is walking the walls, making sure everything’s secure. Morgan (Lennie James) does his martial art stuff, looking uneasy when Rick says they need to talk later. Then there’s Maggie (Lauren Cohan): she’s never giving up the faith. Nor should she, as we know already. Another damn good man, Rick tries to talk with her, to make her feel a little better in the meantime. They even talk about little Judith, and how she looks like Lori. Nice touching moment there between these two.
Out in the wasteland, Glenn finds the note to Betsy lost in the struggle. Such a heartbreaking thing to watch him come across, as it resonates deeply with his and Maggie’s relationship.
Rick is still teaching Ron (Austin Abrams) how to handle himself, how to draw a weapon, load it, et cetera. Carl (Chandler Riggs) gives Ron the business while watching on, sort of adding in little quips at the end of each lesson Rick gives. But while it may seem snotty, Carl knows how to handle himself. He’s proven that, time and time again; no matter if you want to hate him as a character. There’s something about Ron, though. Something I don’t like. I feel as if he might try and do something to Carl or Rick, in attempting to misguidedly avenge his father. Or maybe I’m completely off base. There is a weirdness, a shaky sense to the way Ron talks and acts with the Grimes family.
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Morgan and Rick finally sit for a chat together. They talk about the Wolves, and how Morgan wouldn’t kill any of them. In fact, Carol (Melissa McBride) and Michonne (Danai Gurira) are at the table, too. They all want to know what’s happening. Morgan feels on edge, yet there’s a humanity left inside him. After the Morgan-centric episode “Here’s Not Here“, we know there is a part of him which refuses to die, even after all the terror, the blood, the horror. Morgan keeps believing “all life is precious” and that “people can change“. However, I don’t know if I believe him. No matter how easily the man can break it down, the world is not like it once was. Carol, Michonne and Rick all understand that in their own ways. We’ll see what happens re: Morgan’s long-term status in Alexandria. In the immortal words of Joe Strummer (slightly re-arranged): should he stay, or should he go?
Deanna (Tovah Feldshuh) is optimistic there’ll be an Alexandria, after everything. She brings her new plans to Rick, who doesn’t quite share her enthusiasm. Though, I think he’s happy to see Deanna snapped out of her rut. In the mean time, Rosita (Christian Serratos) is teaching the town residents how to properly handle a machete, even Eugene (Josh McDermitt); he’s having a tough time himself. At least for the moment, even if it’s the briefest, tiniest respite from a constant world of struggle, nobody is dying, nobody is attacking, and things are at a standstill. Nevertheless, people will always have problems. Even if it is the zombie apocalypse.
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While Glenn tries to get Enid to go back to Alexandria, she ends up pulling a gun on him. He insists she ought to go, but she’s not having it. Quickly, he disarms her: “You point a gun at me and I’m the asshole?” They end up as a reluctant team, heading out on the road together. Back towards their walled suburban oasis. Seeing the two of them on the road together, it’s actually kind of comical now and then. They’re like an odd couple situation. Although, I can understand why Enid is so withdrawn and standoff-ish; the way she arrived at Alexandria, what happened to her before, as a young person that must be devastating. If there were ever anyone to be stuck with, though, it’s Glenn Rhee. He has a way of talking to people, no matter who they are. Part of why I dig his character so much after all these seasons.
Rick’s busy beefing up sections of the wall, and out of nowhere Tobin (Jason Douglas) starts to help. Will they finally accept Rick, just as they would one of their own? It feels like a community starting to come together, finally. Too bad it took a lot of blood and guts to get there. But regardless of all that, I like seeing Rick meshing with Tobin in this scene. He talks about how scary Rick was when they first saw him, the beard and the look in his eyes, and then relays the message clearly: “But don’t give up on us.”
Troubling development: dickhead Ron sneaked into the armory room, got himself some bullets. I knew this kid was going to be trouble.
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Watching Glenn and Enid come up on Alexandria was a great scene. There’s a big huge shot of all the walkers shambling around just outside the walls of Alexandria. It’s a gut punch of a shot, compounded with how hopeless Enid feels. Again, though, Glenn to the rescue. He convinces her to forge on ahead.
But inside the walls, Spencer (Austin Nichols) is acting like a crazy person. He’s got a backpack, a gun. Then there’s the fact he’s out shimmying across a grappling line over the wall. What is he thinking? Now Rick and a few hands inside are trying to save him, putting others in danger. The minute you start feeling Alexandria has learned its lessons, one of the dummies starts proving that theory wrong. Turns out Spencer wanted to get out and find a car, to draw the walkers away. What an idiot.
Morgan’s lurking around the local doctor. He needs to “dress a wound“, but as he reveals to her: “It’s not my wound.” Carol catches Dr. Denise (Merritt Wever) walking a ways behind Morgan, both on their way over to his place. We know where they’re going. But will this begin to cause fallout among Rick and Morgan/Morgan and everybody else? Carol’s primed to figure it all out.
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All of a sudden, out beyond the walls, a cluster of green balloons goes up into the air. Maggie is sure it must be Glenn. Then, before Ron can sneak up on Carl with a gun, before Maggie and Rick can be happy about the possibility of Glenn’s survival, the rickety tower-like structure just outside the wall come crashing down against it, right where Rick/Tobin were reinforcing things. Oh, fuck.
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Very, very excited to see the next episode, “Start to Finish“. Stay tuned with me, Walking Deadheads!

The Walking Dead – Season 6, Episode 5: “Now”

AMC’s The Walking Dead
Season 6, Episode 5: “Now”
Directed by Avi Youabian
Written by Corey Reed

* For a review of the previous episode, “Here’s Not Here” – click here
* For a review of the next episode, “Always Accountable” – click here
Picture 1After a GREAT Morgan (Lennie James) centered episode, the series moves on with Episode 5 of the sixth season – “Now”
We start with Deanna (Tovah Feldshuh). She goes to the place where her husband Reg put up the first panel of Alexandria’s walls. After reminiscing shortly, sadly, she looks out towards the road where the walkers are shambling towards their safe haven. Meanwhile, Rick Grimes (Andrew Lincoln) comes barreling through, screaming for the gates to open. One of the more intense slow motion scenes yet on The Walking Dead. Even worse, Deanna looks as if the entire world has collapsed around her. In a sense, it has.
Picture 2Once the credits clue up, Rick is lining everyone up. He’s saying things to reassure them, trying to keep the morale high. They’re going to band together, seal Alexandria up and make it safe, quiet, subtle. Can they do it? Will the people of Alexandria step up? Aaron (Ross Marquand) puts his hat in the ring for Rick, speaks highly of Daryl (Norman Reedus). He admits to, essentially, not knowing as much as Rick, Daryl and their entire group. But still, Deanna appears to have gone off the edge.
Jessie (Alexandra Breckenridge) is busy cleaning up her house. There’s a pile of dead Wolves out in the yard she plans to bury. Though, Rick shows up and tells her: “We don’t bury killers inside these walls.” At the same time, Olivia (Ann Mahoney) has troubles with everyone over at the food dispensary. All the residents say fuck it, taking what they will. Spencer (Austin Nichols) lays down the law and tells them going down that sort of path will make them the type of people they don’t want to become.
Picture 3 Picture 4I really feel for Aaron. It took me a rewatch of a couple episodes lately to revisit some of his great moments. The fact those pictures ended up in the hands of the Wolves is such a tragic misstep. You can see how horribly it hurts him to have inadvertently played a part in The Wolves’ assault on Alexandria. Maybe redemption is coming for him? He and Maggie (Lauren Cohan) are heading out together in search of Glenn (Steven Yeun), whose fate is still not set in stone.
Picture 5 Picture 6Then we watch as Deanna scribbles away, noting on a big map places for ALFALFA, BARLEY, all sorts of crops, and buildings for education, et cetera. Furthermore, she jots down an Ovid quote: “dolor hic tibi proderit olim” (Be patient and tough; someday this pain will be useful to you). Afterwards, though, she and Spencer have a clash. They’ve got all sorts of rations over at their place, so Spencer only did what he did earlier to make it appear proper. What a snake.
Carl (Chandler Riggs) is hoping to find Enid (Katleyn Nacon). He has a bit of a showdown with Jessie’s son Ron (Austin Abrams). Little Carl has grown up. He knows his shit, while Ron is a dummy who knows nothing only that danger exists out there. Unlike Carl, he’s never had to shoot his mother, who just gave birth to his sister, right in her head.
Picture 7 Picture 8A very sad yet empowering scene at the same time comes when Jessie finds a neighbour in a house nearby. The woman slit her wrists, trying to escape the zombie apocalypse coming down on their heads. But of course she came back. So it’s a depressing zombie moment, yet Jessie proclaims – after putting the lady zombie down for good: “This is what life looks like now; we have to see it, we have to fight. If we don’t fight, we die.” Excellent moment, which not only gives Jessie more power, she impresses some of the others. Namely Dr. Denise Cloyd (Merritt Wever); she’s been wavering a little, such as in an earlier scene with Tara (Alanna Masterson). A look runs across Denise’s face that speaks volumes.
Back to Aaron and Maggie, making their way out of Alexandria on their quest to try and track down lost Glenn. AMAZING ZOMBIE EFFECTS! In a sewer, they run into a couple soggy living dead specimens. Such perfect makeup works, love the practical work here, as always. Even further, I find Maggie and Aaron have a nice dynamic going already. I’m excited for more of them, they’re both damn tough.
Picture 10 Picture 11 Picture 12Ron goes to Rick and starts telling him about Enid, who’d sneak out from inside the walls to explore the outside world. The little shithead. He’s not doing this for any other reason than to stir things up. Not sure exactly what is going on with him, but I don’t like the way Ron acts. Rick starts teaching him how to shoot. I just do not like where this kid and his attitude are heading.
Surprise! Dr. Cloyd gives Tara a big smooch for helping out with a patient, giving her the confidence to keep going and push through the fear.
Then we finally get confirmation from Maggie: she is pregnant. At the last moment, she stops Aaron from opening the grate to head out into the wilderness outside Alexandria. Passionate speech from Maggie, great acting by Cohan. This entire scene is so intense and I found myself near tearing up. At the same time, I’m devastated because Maggie doesn’t have much, if any, hope left at all. She’s seen too many people die, especially her own family. No wonder. But she and Aaron embrace, they’ve got a bond. I feel as if he’s going to be a good friend to her from now, watching out, helping where he can. He is a good man who wants to do right by others. Again, their chemistry is awesome.
Picture 13 Picture 14Deanna stumbles through the streets, hearing voices of past arguments, all sorts of things. Out from under one of the houses comes a Wolf zombie, one Carol (Melissa McBride) couldn’t find after she killed him in the attack. Deanna GOES TO TOWN on the zombie with a broken bottle, stabbing him repeatedly in the chest. Finally, Rick rushes out of the darkness to kill it off. She looks at him dead in the eye and says: “I want to live.” So this episode has really been a turning point. Seeing Rick and his group go through traumatic events alongside them, the Alexandrians have hit a corner, they’re coming through to discover they do have what it takes. At least when it comes down to the nitty gritty of it all.
Picture 15 Picture 16My favourite scene comes when Maggie hops down off the wall with Aaron. They go to the panel where all the IN MEMORIAL names have been marked – of which Glenn is one, as is Nicholas. While we know the latter is dead, Glenn – I don’t think – is actually finished. But Maggie wipes his name off. In contrast to what I said before, Maggie does have hope. Aaron proves to be that good friend already by adding to her hope, encouraging her.
Picture 18The finale sees Deanna getting her groove back, as well as Rick and Jessie getting much closer. And a final drip of blood running through a hole in the wall closes things off.
Excited to see the next episode, “Always Accountable”. Stay tuned for another one next week!