Wayne and Roland figure out the truth. Is it as dark as it appears?
True Detective – Season 3, Episode 8: “Now Am Found”

Wayne and Roland figure out the truth. Is it as dark as it appears?
In '90, Wayne and Roland make an unimaginable mistake that will irreparably alter them, as well as their relationship.
With a tough choice to make, Rick Grimes does what he thinks is best for himself, the group, and Michonne.
Too bad Merle has other ideas.
Andrea decides to sneak out to the prison, in hopes of talking Rick down from a war with the Governor.
With Rick trying to put his mind back together, others try stepping up to the plate. Meanwhile, the Governor plots revenge.
The Dark Half. 1993. Directed & Written by George A. Romero; based on Stephen King’s novel of the same name.
Starring Timothy Hutton, Amy Madigan, Michael Rooker, Julie Harris, Robert Joy, Kent Broadhurst, Beth Grant, Rutanya Alda, Tom Mardirosian, Larry John Meyers, Patrick Brannan, Royal Dano, Glenn Colerider, Sarah Parker, & Elizabeth Parker. Orion Pictures.
Rated R. 122 minutes.
Horror/Mystery
★★★★
I’ve long said that George A. Romero and Stephen King go together like coffee and pie. Is that a thing, is that what people say? Well, I like coffee and pie. A nice treat. Just like I dig some Romero and King. They’re sweet together, as sweet as horror can get. You fans know what I’m talking about. Usually people associate Romero with the zombie sub-genre, and rightfully so: he single-handedly reimagined the zombie in modern terms giving birth to a trend that’s still going on today, which will undoubtedly continue until the end of time. Yet Romero made some really good work outside of the zombie structure. Long before 1993, too. But The Dark Half is one of those King-Romero collaborations that isn’t only interesting on paper. The whole film is a dark, gorgeous joy. Previously the two powerhouses of scary shit did well working on 1982’s Creepshow. Most will say that’s their best work together. I love that one, have it on the shelf alongside this and other Romero, as well as other King. I have to say, this one is my personal favourite of the two movies. Most of all because the book is so good, and for better or worse this adaptation nails most of the important aspects right on the head. The visual style is quite what we come to expect from the master of horror in Romero. King’s story matches the darkness of the director in his story examining duality, the lure of addiction in the sense of it creating an entirely other identity in one person, a quasi-monster movie about a man’s evil side literally appearing out of thin air. This is on the top of my lists for favourite King adaptations. There’s a lot to enjoy, even if it isn’t perfect. In the second half of the film things get riveting. Romero always goes for the jugular, this is no different.
Love the idea of duality. We’ve seen it many times before in literature, most famously in Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde. What’s most interesting about the King novel and this adaptation is how we look at the dual identities of George Stark v. Thad Beaumont (Timothy Hutton v. Timothy Hutton). This is a parallel of several things. Of course on the surface there’s the idea of literally mirroring King and his own pseudonym, Richard Bachman. This whole film can act as a metaphor about how King and his feelings of the success involved with Bachman’s writing, in that it became this whole other entity that needed to be dealt with, and King’s wild imagination concocts this whole story. On a deeper level there’s the fact King wrote The Dark Half right before going sober. His own feelings of the drugs and the booze taking over, the addiction becoming an entire entity all of its own, his need to rein in control as himself and be a sober man going forward, these are the biggest drive for the ultimate differences between Thad and George.
The whole visual difference between Hutton as Thad and George is awesome. When I read the book I really got such a feeling of uncanny terror when imagining the two versions of this one man. Particularly later on when things get very intense, the practical makeup effects used make the divide between Stark and Beaumont bigger. Added to all that there’s Hutton. Now apparently he was a horror to work with, even quitting the production at one point. Can’t say he doesn’t play the part to near perfection. He has the feeling of a writer torn in two from the start, not sure whether to keep riding on the success of a part of his identity which clearly causes trouble in his real day-to-day life. Then as we get further into the plot Hutton’s able to seamlessly transition from just a writer in distress to a man having one devastating existential crisis.
Something I’m very interested in personally is the Eastern belief in the concept of tulpa. Essentially, this is the concept that the mind is so powerful that it can will something into existence through pure thought. Further than that there’s often the idea that collectively, enough people might be able to will something into existence due to the amount of people expending mental energy on conjuring it up. Such is the case today with phenomenons like Slender Man and others. Certain occult thinkers might suggest these entities can become real, of flesh and blood, if enough people believe in them and will it so. In a way, George Stark is such a tulpa. Thad has not only thought him up, he’s effectively become a real person in that Beaumont hands his work over to the pseudonym, making him a part of the world. Then there’s the fact Thad had a malformed twin in his skull as a boy, this plays into more ideas about duality and further almost twists this into a monster movie – horrific images in the mind conjured up concerning a leftover bit of brain, bits of human matter not fully formed, waking up and growing into a whole man, wreaking havoc on a town in Maine. King, adapted well by Romero, takes a wild look at what happens if a murderous, hateful, vengeance seeking guy like Stark were to be willed into existence. There’s an equal part of camp much as there’s depth to the story. It’s all great, though there is quite a good helping of a sort of 1950s-style. There’s nothing wrong with that. Mostly it comes in the form of Stark who is appropriately a sort of typical 50s gangster with a razor blade, a slick-haired, leather jacket wearing, kinda Elvis copy. He’s no West Side Story sort, he’s much more dangerous than that. Along with his creepiness comes an awesomely throwback sense of camp that adds a dark humour to many of the kill scenes. All in all, the way King’s story and characters bring out the idea of the tulpa is lots of fun. Romero does his best to make that work and does a bang up job.
I can forgive a movie’s mistakes if most everything is compelling enough. King wrote a great novel, one to which I found myself glued until the last page turned and that back cover slapped shut. The Dark Half is in good hands with Romero. His directorial choices match his capabilities as a writer, each side complimenting the other. More than that I think he does well with adapting King. Not everyone can fit a novel of his into one screenplay properly, though I’m inclined to feel as if Romero does just that. Rather than make this into a half-assed attempt at jamming every little idea King had in the novel into the script, Romero opts to choose the best material, condense it, then make sure the lead character and his story gets brought out powerfully. The adapted screenplay works, and Timothy Hutton sells the Thad Beaumont character, in turn doing a fantastic job with George Stark in a highly opposing role; all the duality rests on him here, he carries that responsibility nicely. Throw in some nice effects, a couple nasty horror kills and blood to boot, this keeps things on the level for those genre fans out there. I forget how good this movie is then each time I put it on I remember, so quickly. If you’ve not seen it and call yourself a King fan, or one of Romero’s legion, then get on it, now. This is better than many will try and tell you.
In a twist of fate, the Brothers Dixon wind up in a terrible position against one another.
AMC’s The Walking Dead
Season 3, Episode 6: “Hounded”
Directed by Daniel Attias
Written by Scott M. Gimple
* For a review of the previous episode, “Say the Word” – click here
* For a review of the next episode, “When the Dead Come Knocking” – click here
Merle Dixon (Michael Rooker) is leading the charge searching for Michonne (Danai Gurira). He’s got a couple people from Woodbury with him, including a young guy he calls Neil (Dave Davis). Out of the woods Michonne comes killing the others, leaving Merle and Neil alive. After the confrontation, Merle stands defiant: “Are we having fun yet?” he calls out into the forest, as she slips away after their fight.
Back to Rick Grimes (Andrew Lincoln) in the tombs of the prison, among the dead walkers, in the place where his wife dead. He received a phone call from someone who won’t say where they are, who they, who is with them. Rick pleads with them for help, but the woman on the other hangs up. Meanwhile, Daryl Dixon (Norman Reedus), Hershel (Scott Wilson) and the others eat together. When they do see Rick again he’s slightly better. But not near well. Glenn (Steven Yeun) talks about making a run for supplies, Daryl gives Rick an update on other plans. Yet off Sheriff Grimes goes again, by himself. Into the tombs.
In Woodbury there’s a better relationship brewing between Andrea (Laurie Holden) and The Governor (David Morrissey). She wasn’t impressed with their big show the night before, having Merle give off a big three-ring circus style act with walkers. Although, she wants to stay, and to contribute. The Governor agrees to have her.
Rick continues to talk to other voices on the phone. This time, a man. Again he gets hung up after a bit of conversation. Frustrating, no? Or is it all in Rick’s head?
Andrea proves her worth in the new town by taking down a walker, jumping over the Woodbury wall to get it. Only the girl she’s on guard with doesn’t seem too impressed. “This isn‘t a game,” she tells Andrea, who only looks confused. And she ought to be, having turned the world outside into just as much of a game, a “release” as she put it, as the circus Merle was putting off the night before.
Hershel finds Rick in the prison tombs. He tries to talk with the distraught father and widower. Rick reveals the call he received and Hershel tries listening to the phone; we don’t hear any dial tone, does he? Either way, Rick sends Hershel off and wants to stay alone.
AMC’s The Walking Dead
Season 3, Episode 3: “Walk With Me”
Directed by Guy Ferland
Written by Evan T. Reilly
* For a review of the previous episode, “Sick” – click here
* For a review of the next episode, “Killer Within” – click here
We start out with a military helicopter chopping through the sky; it’s in trouble. The serious kind. With soldiers inside the thing goes down hard into the forest.
Cut to Andrea (Laurie Holden) and Michonne (Danai Gurira) on the road, miles away. They see it crash, then begin to make their way into a field out towards the site. Of course, Michonne has her two pet zombies on a leash with them. When they get to the crash, Andrea has to rest a minute, still not feeling top notch after her bout of the flu, or whatever. Michonne goes to see if there are any survivors, but mostly it’s just death. One soldier is cut in half completely by the chopper’s remaining blade.
And then in the road a little further comes a truck. Michonne and Andrea hide, checking out the people who emerge from the vehicles. They’re a crew of men there to investigate the crash, as well as see if there’s anything worth scavenging. A few walkers come out of the forest and are quickly dispatched by this new group, with bow and arrows, baseball bats. The men discover a soldier in the helicopter is still breathing, so they get him out. They only end up killing more people, the dead coming back. Essentially putting people out of their misery, yet there’s still something about these guys that feels… military. Strongly so, and in the wrong sense.
AMC’s The Walking Dead
Season 2, Episode 5: “Chupacabra”
Directed by Guy Ferland
Written by David Leslie Johnson
* For a review of the previous episode, “Cherokee Rose” – click here
* For a review of the next episode, “Secrets” – click here
We cut back to before the zombie apocalypse. Or, right at the beginning.
Shane (Jon Bernthal), Lori (Sarah Wayne Callies) and Carl (Chandler Riggs) are out on the highway, alongside Carol Peletier (Melissa McBride), her family, as well as tons of others. The road is blocked. Nobody knows what’s happening, while Shane tries to figure things out.
Then, out of the sky come explosions. People on the highway come to blows. Overhead, black helicopters fly in the night, headed towards the city. Everybody on the road heads towards the woods just in time to see the helicopters fire on the city, “dropping napalm in the streets” as Shane observes with wide, terrified eyes. These were the starting moments of what was to come – a better look at what the military did at the start of the outbreak can be seen in Season 1 of Fear the Walking Dead.
Back to the present with the survivors, Lori is still reeling from discovering her pregnancy. Though, it’s clear nobody else knows yet. Dale (Jeffrey DeMunn) is up, as is Carol who tends to the laundry. Carol also wants to “cook in a real kitchen again” and cook dinner for Hershel and his family. Good idea, after all they’ve done for the group. Carol also thinks it’s best if the idea comes from Lori who is dubbed the “unofficial First Lady” of their little unit. At the same time, everybody’s still planning their search for Sophia. Daryl (Norman Reedus) has plans to take a horse and go out on his own, as usual; the title of the episode comes from a story he told around the fire about squirrel hunting and seeing an actual chupacabra, the mythical dog-like, bloodsucking creature. Amazing little addition, which surely will come into play later in the episode. Somehow.
Glenn (Steven Yeun) and Maggie (Lauren Cohan) have a tenuous sexual relationship going. Only Maggie doesn’t seem particularly enthralled with their previous lovemaking, to Glenn’s dismay. “We‘ve still got eleven condoms,” Glenn tells her. “You see eleven condoms I see eleven minutes of my life I‘m never gettin‘ back,” replies Maggie.
Shane and Rick are out in the woods together. Like old chums again. Their “high school love life” comes up, respectively. First, Shane goes on about “banging 30 year olds on the regular” such as their P.E. teacher. Second, Rick’s fairly lax love life back then comes out. After a few minutes, Shane gets morbid saying they ought not be talking about their old stories: “The people in our stories are dead.” But he’s the one who brought it all up. He turns it into a talk with Rick about the people who depend on him. There’s always a duality happening. Shane always wants to turn another conversation, any conversation, into one about Rick. Anything he can do to break down the aura of Sheriff Rick Grimes, resident bad ass. He is jealous of everything: Rick and Lori, Rick being Sheriff in their new group essentially, Rick having Carl as a son. It’s as if Shane thought he was going to walk off with Rick’s life after he left him in the hospital, and Rick coming back was a shock to his system. Sad, and will go to tragic lengths.
In his own neck of the woods, Daryl is adventuring alone. Down by the water he tracks Sophia, a doll resting on a log. But after being thrown off the horse Daryl slides down a rocky cliff and into the river. An arrow sticks through his side, he lays there bleeding until eventually crawling out onto the shore. The survivalist in Daryl sees him do a bit of basic medical patchwork to keep him going. He tries to make it up out of valley, struggling over a hill, arrow still in his side. What will become of him? Soon enough he goes flying back down the hill, back he started. Except worse.
Glenn finally confronts Lori about her pregnancy. She needs to keep it quiet for now, which shocks Glenn knowing Rick hasn’t been told. This is developing into a tricky situation for Lori, as she can’t be totally sure whether or not Shane is the father. Deep down, you know that’s she is thinking. At the same time, Rick is already stressed with Shane questioning his leadership, wondering if he “make the hard decisions“.
Not particularly happy with things, Hershel reminds Rick of a need to control their groups respectively. He wasn’t told about Jimmy, the young boy of his group, heading out with Rick and theirs earlier. Nor was he informed about Daryl taking one of their horses. Hopefully communication improves, as Rick absolutely needs Hershel right now. He might not know it, but he does; a pregnant Lori can’t be out walking the wasteland with a child in her belly. Not to mention when it comes time to deliver.
Dale: “If I had known the world was ending, I‘d have brought better books.”
Rick and his friends run into a tough situation after Glenn is taken hostage
Merle does the unthinkable to get off the rooftop where he was left handcuffed