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The Walking Dead S06E11 “Knots Untie” REVIEW

The Walking Dead S06E11 “Knots Untie” REVIEW

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stars 4

Airing in the UK on: FOX, Mondays, 9pm
Writers: Matt Negrete, Channing Powell
Director: Michael Satrazemis

Essential Plot Points:

  • Abe and Sasha are coming off patrol. Abe is being charming and southern and… Sasha’s having none of it. She tells him she’s transferred off his detail and while it’s a very affectionate no to his advances, it’s also a definitive one. One that haunts Abe hours later, in bed with Rosita.
  • Maggie’s working the land, setting up trellises for tomato plants. They have land, seeds and nothing more. Glenn assures his wife stuff will grow. Then they see a commotion nearby. Jesus has escaped…
  • Jesus looks at a painting in Rick and Michonne’s house. When Carl pulls a gun on him, he explains why he’s there and what follows is an increasingly brilliant, “Whoops where are my Walker-stained trousers?” farce as very nearly every major character tears into Rick’s house and finds two things:
    1) Rick and Michonne post-sex
    2) Jesus waiting for them to get their acts together.

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  • Jesus briefs them while eating one of Carol’s cookies, about where he comes from. When Rick asks how many settlements there are he smiles and tells him his world is about to get a lot bigger.
  • The next morning, a trading party rolls out. Carl and Rick have a very sweet moment when Rick tries to explain about Michonne and his son makes it clear he’s cool with it. Carl opts to stay behind, saying he thinks his injury wouldn’t make a good impression. Rick maybe should pay more attention to that than he does.
  • On the drive out Abe good-naturedly calls Glenn on the naivety of having a baby in the post apocalypse world they live in and Rick and Michonne can’t quite stop holding hands. The oddly peaceful journey is interrupted by the site of a recent car crash. Jesus recognises it as one of “his”.
  • The Alexandrians check the area and track the survivors to a nearby building. There they save four people, although Abe, still off his game, nearly kills one by accident.
  • One of the people they save isn’t just a doctor but an obstetrician. Indebted to Glenn and Maggie he asks them to stop by when they get home for a check-up.
  • Freddie, the man Abe almost killed, is near hysterical. He also seems resentful that Abe didn’t kill him, as he wants to be reunited with his wife.
  • The RV gets stuck in the mud but they’re basically at the Hilltop. Jesus takes them home, to a massive sprawling mansion surrounded by a high fence, FEMA prefab shelters and surprisingly successful farmland. After a tense face-off with the guards, he gets them inside, still armed, for a meeting with Gregory.
  • Gregory is not a nice man.
  • At all.
  • A preening, arrogant, sexist pig who’s obsessed with keeping “his” home clean, he agrees to speak to them. Rick, perhaps sensing just how likely he is to stab this man a LOT, sensibly tells Maggie to negotiate.
  • What follows is a wonderful, snippy back and forth that ends with Maggie cutting through Gregory’s nonsense and Gregory refusing to admit it. The talks are stalemated with Gregory demanding the Alexandrians work for their supplies and Maggie advocating a simple trade.
  • Then, a scouting party returns. Well, most of one. Gregory and the others go out to meet them and are horrified to discover that Negan killed some, kept one and told the others to send a message to Gregory.
  • That message is. “I am now stabbing you in the chest.”

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  • A brutal – needlessly brutal, in fact – fight ensues. Rick kills Gregory’s would-be murderer, Abe is almost killed until Daryl breaks a guy’s arm and the situation is only diffused by Jesus pointing out that it needed to be done.
  • Later, Gregory is stable and Jesus briefs the Alexandrians. He tells them Negan showed up as soon as the wall went up around Hilltop. He demanded half of everything they grew, and, after he murdered a 16-year-old refugee, they agreed. Daryl is amazed and points out how easily they took out some of Negan’s men.
  • Together, the Alexandrians make their pitch; they’ll kill Negan and end his gang’s reign of terror in return for supplies. Jesus agrees to take it to Gregory. Gregory agrees to talk about it.
  • With Maggie.
  • What follows is another gloriously snippy verbal fistfight that finishes with Gregory pointing out the Alexandrians are doing exactly what he demanded; working for food. Maggie scores the knockout though by retorting that in return they want half of everything grown at Hilltop.
  • Up front.
  • Gregory acquiesces. And Maggie asks for one more thing…
  • Later, Jesus points out they got a better deal than even Negan did as the RV is loaded up. Rick and Michonne discuss the coming battle and vow to get through it. On the ride home, Maggie and Glenn pass around the other part of the deal: an ultrasound image of their baby.

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Review:

After the body count, action and horror of the last couple of episodes, this one focuses entirely on trade negotiations and exposition. It’s a gutsy change of pace for the show but as the episode goes on it becomes clear it’s also a necessary one.

A lot of little character touches are used to put things in motion this week. Daryl and Doc’s endearingly grumpy sort-of friendship moves along and we get hints about Denise’s backstory. Abe is clearly torn between Sasha and Rosita and dangerously off his game as a result. Glenn and Maggie are transitioning from being full time scavengers and scouts to Maggie being in a leadership role as her pregnancy develops. Rick and Michonne are together, publicly, and everyone is cool with that.

These are all small touches but they’re all orbiting what we know is coming. Or rather, who. For a man we haven’t seen yet Negan casts a very long shadow and this episode we get to see the consequences of his actions through the lens of the Hilltop community.

That’s where the bulk of the action takes place and where the series’ focus shifts two different ways. First off, this is a Maggie episode. Lauren Cohan steps up to the plate in fine style as we see Maggie become the spiritual successor to Deanna. Her combination of Hershel’s compassionate practicality, Deanna’s idealism and her own brutal pragmatism make her a formidable opponent and the two verbal fights she has with Gregory are the sparkiest the show’s ever been. This is where The Walking Dead excels, using character to propel plot and shift focus as the show continues to evolve.

The second focus shift is just as interesting. The Alexandrians have survived long enough to settle. But they’ve also plateaued. They need help from outside sources and so Gregory, for all his preening smugness, is their best and only bet. That leads to the most subtle tragedy we’ve seen on the show yet as, after finally leaving a life of constant violence, they volunteer to go back to it to kill Negan.

Let’s be clear; this is tragic. The show’s characters are literally volunteering to commit murder for food. It’s a means to an end certainly and no one is forcing them to, but Gregory’s right. They’re working for food, just like he wanted them to. He’s won, even as he’s recovering from being stabbed.

That’s the real debate, and the real strength of this episode. The conflict isn’t between Negan and Alexandria, or the Hilltop and Alexandria. It’s between the characters’ better goals and their true natures. That’s why it’s so important that they volunteer and why Rick in particular seems positively enthusiastic about the war; this is the first time they’ve used their skills to build themselves up rather than stop others destroying them. It’s not much, and there’s going to be a terrible price to pay, but it’s more than they’ve had before. And that’s a deal anyone, especially these characters, would be happy to make.

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The Good:

  • Rick and Michonne not able to stop holding hands while driving is just adorable.
  • Lauren Cohan represent! Cohan is one of those on-screen talents who is so consistent she can sometimes be overlooked. I’m delighted to see The Walking Dead giving her stuff to do and even more delighted that it’s essentially, “being the parts of a leader that Rick is amazingly bad at”. Plus the dynamic shift surrounding Maggie is making for some great drama and, when the war with Negan kicks off, is going to be one of the engines of the show.
  • Gregory. Xander Berkeley is one of the best actors of his generation and damn if he doesn’t prove that here. Gregory’s cowardly, arrogant, ruthless and clearly the hero of his own story. He’s awful and absolutely compelling and I want to see much, much more of him because Berkeley shows us more sides to the man than any other actor could.
  • “Camels don’t eat keys.”
    “They do. It did. And it shit it out. I shit you not.” I am calling it now, Abe’s dead inside a month. The big red fire engine is off his game, unsettled and clearly unable to cope with the fact that now death isn’t imminent he’s not quite sure who he wants to be with. And that’s going to get him killed.
  • “Entropy comes from order, right?” Daryl nodding to this is, like Michonne kissing the unconscious Carl, is one of those moments I think is going to be very significant further down the line.
  • “Your world’s about to get a whole lot bigger.” So, does Hilltop trade with other colonies too? It’s played very cagily in the episode but it does seem likely.
  • “Hope it tastes better than it looks, cos it looks like shit.”
    “Shit’s still better than roadkill.” Doc and Daryl’s not-quite friendship remains a joy. Neither of them is especially good at talking to other people, neither of them is quite sure why they get on but they just kind of do. It’s sweet and grumpy and weird.
  • “Kid with a messed-up face probably wouldn’t make the best first impression anyway.” Another line I think is going to pay off further down the line. It plays like maturity here and that’s what it is but there’s also something darker. Carl’s self-confidence has taken a serious knock and that’s going to have consequences.
  • It’s seems that all those “We’re with Jesus” gags don’t any less funny with repetition.
  • “Why don’t y’all go get cleaned up? Hard to keep this place CLEAN.” One single line tells you everything you need to know about Gregory. Amazing writing and delivery.
  • “And your infirmary? Is it stocked?”
    “IS YOURS?” Maggie lets Gregory assume she’s just a good ‘ol farmgirl then pushes all the way back.
  • “Let’s speak the common tongue here huh? You don’t have shit. Now, I’m happy to help. I’m a nice guy. But we can’t just give things away for free. How’s this? Since you can’t offer much I’ll let your people work here for your share. You’d be a welcome addition to the community. Smart, beautiful woman. Getting back to that common tongue, let me tell ya I can make it worth your while.” Gregory is clearly not a nice man. At all.
  • “We’re doing fine. Are YOU?” Again, look at the difference. Gregory talks a good game. Maggie, who’s hung out with Carol for five seasons, picks every single word carefully and bullseyes each one.
  • “Hold up. So they show up, they kill a kid and you give ’em half of everything? These dicks just got a good story. The boogeyman, he ain’t shit.” Daryl’s definitely got something building this season and this casual, almost belligerent takedown of Negan’s strength proves it. It also suggests Daryl’s in for a rude awakening and the Alexandrians are going to badly underestimate Negan.
  • “Confrontation’s never been something we’ve had trouble with.” Such a Rick line. Such a brutal undertone to it.
  • “You see? I have leverage.” The sparring between Maggie and Gregory this episode is brilliant. Especially this moment where she wins, he sees it and is simultaneously angry and very impressed. Looking forward to Round Three of this fight.

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The Bad:

  • You can understand why the fight with the survivors of the delivery party needed to look brutal but it tipped into merely gratuitous. That huge SPLAT! of blood that covered Rick felt a little too much like the show going, “We know this episode was just trade negotiations, she here – have some violence to make up for it.”
  • “WHAT?!” And this was a truly rare thing. An absolute honker of a bum note. We know Rick’s people are cold-eyed killers, we know they’re very comfortable with violence. We know on some level a few of them – COUGHRickCOUGH – actually rather like it. Having him all but pound his chest like this was as needless as it was annoying.

The Random:

  • Xander Berkeley! Legitimately one of the greatest character actors of all time. It’s not a question of if you’ve seen Berkeley before but how many times. Notable supporting roles in Terminator 2, Air Force One, The West Wing, 24, Zoo, Longmire and the US version of Being Human are just some of the places he’s turned up and done great work.

Review by Alasdair Stuart

Read more reviews of The Walking Dead season six


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Call of Duty: Black Ops III: GAME REVIEW

Call of Duty: Black Ops III videogame review by Martin Wharmby 

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stars 4

DEVELOPER: Treyarch
PUBLISHER: Activision
RELEASE: Out Now
FORMATS: PS3,PS4,  Xbox 360, Xbox One, PC
RATING: PEGI 18
PRICE (RRP): £49.99

Roll your eyes as much as you want when it comes to annualised franchises, but you can’t deny that series like Call of Duty continue to deliver good quality, content-heavy packages year in, year out. More so even than last year, Call of Duty: Black Ops III is rich in modes, options and versatility – just steer clear of the ugly, Campaign-less 360 and PS3 versions.

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The Campaign is a co-op friendly future-tech romp, starting off similar to Advanced Warfare but diverging into almost nonsensical weirdness before the end. It’s forgettable fun, full of energetic, explosive set-pieces and larger, more open environments designed for co-op, and for the first time in the series, customisable loadouts.

Zombies continues to be a bafflingly popular mode,  packed with even more esoteric tasks, secrets and now Jeff Goldblum’s golden voice, promising hours of undead battling in a film-noir inspired setting. While fun, playing with strangers is still a daunting task and the difficulty remains insane.

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Multiplayer remains the beating heart of the game, and is strengthened by the movement-enhancing future-tech, while the Pick-10 loadouts (a class-building feature introduced in Black Ops II that allows more freedom for the player to customize their loadout) are built upon thanks to the Specialist system. Pick a character and either his/her special weapon or ability, which can turn the tide of battles.

With a huge array of maps and modes, multiplayer remains a quality prospect, but there’s something that feels off about Black Ops III. There are no standout moments beyond the weirdness in the Campaign, Zombies requires crazy dedication and multiplayer is fun, but not spectacular. This is the real downside to annualisation: there’s little room and time for excellence.

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Fear The Walking Dead S01E04 "Not Fade Away" REVIEW

Fear The Walking Dead S01E04 “Not Fade Away” REVIEW

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stars 3

Airing in the UK on AMC
Writer: Meaghan Oppenheimer
Director: Kari Skogland

Essential Plot Points:

  • The story jumps nine days into the future, with the neighbourhood now under curfew, fenced off and one of 12 local safe zones. The army has arrived in force and is preparing to take back LA.
  • Travis has become a willing neighbourhood “mayor”, and point of contact for the slightly erratic Lt Moyers. Madison and the family are resolutely unhappy about this.
  • And, in fact, everything else. The Salazars hunker down and wait for treatment, while their daughter starts a relationship with Reynolds, one of the soldiers.
  • Nick claims to be doing well with rehab but is actually stealing morphine from an ailing neighbour.
  • Alicia can’t stand to be in the house and spends her time at the other (now very dead) neighbour’s house tattooing Matt’s symbol onto her arm.
  • Chris spends his time on the roof, recording self-righteous YouTube videos no one will ever see, which is a relief. Until he sees lights in a house out past the fences…
  • Travis, because he’s an idiot, ignores Chris. Madison, because she’s an idiot, does not. She cuts a hole in the fence and goes out to try and find out if it really is a survivor. She finds bodies, not only zombies but apparently healthy people, all of them executed…
  • Back at Camp Lovely, Liza is approached by Doctor Beth Exner, the military doctor. Exner gently points out how Griselda has been telling white lies to help her patients feel better and asks her to come aboard with the relief effort.
  • Elsewhere, Travis is strong-armed into helping talk down a friend who’s refusing to be screened. He does so, but, later, the man goes missing. Travis is told by Moyers that he’s been taken away because his fragile mental health was a danger. Moyers seems remarkably unconcerned that no one told the man’s family first…
  • As the episode ends, Madison is warned by Daniel that things could turn bad, fast. He turns out to be right as his wife and Nick are both taken away by the army. Liza, desperate to help, goes with them leaving a horrified Chris behind and Madison convinced she was responsible. A horrified Travis stumbles onto the roof and sees the light that Chris saw. As he watches, rifle fire illuminates the building and the light vanishes…

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Review:

It’s a “good news, bad news” kind of week on Fear The Walking Dead so let’s go with the good news straight out of the gate. While the arrival of the army is almost certainly a very bad thing for the characters it’s a great thing for the show. The slight time jump and retooling helps everything immensely, giving all the characters a new framework to push against and giving the show a sense of progress it most certainly lacked last week.

The opening scene is a good example of that, as Travis goes for his morning jog round the com pound. Yes, using “Perfect Day” over scenes of imminently doomed relaxation is a bit of a cliché but it works very well here. You get a sense of the neighbourhood as a soap bubble of normality, ready to pop at any moment. The way each character relates to that says a lot about them, and it’s interesting to see the show not only return to some of its familiar tropes but question them. Alicia yelling at Travis and Madison for having a stupid, pointless argument is a nice touch. Chris defaulting back to obsessing over whatever crusade his camera is pointed at is another.

Everything seems normal, but everyone can tell it’s only superficial. That creates huge amounts of tension that the episode feeds off, and gives some surprising characters some interesting stuff to do.

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Liza finds herself at the centre of the show’s new big dilemma; to help or hinder the military. Her part in the final scene is genuinely great and you can see her anguish at having to leave her son with no notice. It’s nicely played, even though the reactions to it, which we will get to, are not.

However, the breakout stars this week are Daniel Salazar and Alicia. Ruben Blades has always been great but his final speech here is chilling. It also neatly sidesteps the terror I had last week of his family being involved in a stereotypical cartel. Here, in one scene, we find out they’re survivors of tremendous political uprest. It’s a great scene and it repositions Daniel as less of an adversary and more of a possible Hershel figure for the series’ future.

And there’s Alicia. Alycia Debnam-Carey hasn’t been given a lot to do so far this season but this episode hands her some quiet, important character stuff. Her self-inflicted tattoo is surprisingly poignant and the fact she’s all but moved out, and no one’s noticed, shows just how wrapped up everyone else is in their business. It’s a smart, brave beat in the script and I’d like to see Alicia get more to do. Debnam-Carey’s up to the task and, unlike Chris and Nick, the character isn’t utterly unbearable.

Elsewhere there’s a lot to enjoy too, especially Jamie McShane’s wonderful turn as Lt Moyers and some really nice direction from Skogland. Oppenheimer’s script is also the tidiest the show has had so far, beginning and ending with the same image to show both how enclosed the family are and how badly things have changed. It’s really smart, fun stuff and a sign of the show firing on all cylinders.

Well…most cylinders.

I’ve talked a lot in the last couple of weeks about how Madison has the show’s most interesting arc. An authority figure confronted with the realities of what’s going on, she’s shifted gear effortlessly into frequently the smartest person on the show. She’s made some smart choices, looked after her people and is well on the way to being the sort of survivor Rick Grimes would nod wordlessly at. Which, as we know, is Rick speak for, “Well done, you’re an asset to the team.”

This episode? She’s an idiot.

One of the difficult things to remember about both Fear and the parent show is they’re set in a universe where zombie stories don’t exist. That’s why no one calls them zombies and why they’re such a terrifying and unfamiliar threat. As a result, you have to cut the characters at least some slack.

Unless, for example, they decide to go out into the city which they know is infested with things trying to kill them armed with… Actually nothing. She doesn’t even take the boltcutters she used to open the fence.

Because, oh yes, Madison snips a hole in the fence that’s the only thing between her family and certain death.

The sheer level of stupidity she shows here goes over and above the zombie ignorance (zombignorance? Zignorance? Yeah let’s go with that) you’d expect. She’s just a straight up cretin, and it’s nothing short of miraculous a horde of walkers didn’t follow her back. She didn’t even make it to the building Chris saw, turning the entire expedition into a vandalism nature trail with added dead people.

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Amazingly, while that entire expedition is the stupidest thing she does this episode, it’s not an isolated case. Her final line of the episode, after Nick and Mrs Salazar have been taken away is to look at Travis and snarl: “Liza did this.”

Yes, that’s right. The show’s smartest character has just decided that her sociopathic drug addict son who she knows was stealing medicine from a neighbour was taken away because her husband’s ex doesn’t like him.

There is nothing good here. It shoots for the same human drama of the previous episodes but instead lands on soapy nonsense, rendering a major ethical dilemma down to a clash between Travis’ girlfriend and his ex. It belittles the situation, it belittles Eliza and it all but collapses Madison as a character. You can see that the show is trying for moral ambiguity but it misses by a mile, instead landing squarely in the sort of fake drama nonsense the rest of the episode has been trying to convince you it isn’t. It’s such a shame, and, after last week, the start of a worrying pattern. If next week’s episode falls apart in the last few minutes we’ll know the show has a problem. Right now, all we know is this; the Army are trouble and Madison is an idiot. Let’s see which one of those changes next week. Let’s hope both.

The Good:

  • The entire supporting cast. Seriously, we meet four new characters and they’re all really interesting. Moyers’s jovial belligerence is the most fun, but Doctor Exner, who clearly knows just how bad things are, comes a close second.

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  • Also top marks to the show for the scene where Travis talks down Doug. Having two male characters talk about their emotions like that is the sort of smart writing this show excels at and needs much, much more of. “Everything will be okay. That’s all you have to tell them.” “Will they know I’m lying?” When this show’s dialogue is on form, it’s phenomenal. This exchange says so much about the fragile bubble of civility they’re all living in.

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  • “Don’t be a hero.” “No chance of that.” Likewise this exchange between Madison and Nick is just lovely. There’s a snap to the dialogue here the show’s not quite had before and it works beautifully.
  • “Relax, count your blessings. Be nice, so I don’t have to shoot you.” Moyers’s charming, slightly harangued and clearly not quite right. This line, funny on delivery, becomes much less so by the end of the episode.
  • Nick, under the bed, siphoning the morphine, is one of the show’s most repulsive images yet. Scarier than any walker.
  • Madison finally losing it with Nick works all the better because there’s no screaming. She’s just had enough. It’s a great moment for both characters which Madison in particular desperately needs this episode.

The Bad:

  • Madison being an idiot.
  • Madison deciding she’s on a daytime soap called End Of Days Of Our Lives.
  • “Another one burned last night. Better than TV.” Oh shut up, Chris. Your YouTube channel, that you will never access again by the way, has three subscribers. Two of them are your sockpuppets. The third is the MySpace guy.
  • The implication Ofelia is only making out with Reynolds for drugs for her mum: on the one hand, it’s smart survival tactics; on the other it’s an unnecessarily skeevy character beat.
  • We’re now four episodes in and Travis is just starting to maybe think he should perhaps think about considering changing his world view. Any time you’re ready, big guy. Please be ready soon.

The Random:

  • Shot of the episode is actually two. The first is at the top, as Travis runs round the hamster wheel the neighbourhood has become.

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  • The second is towards the end of the episode as Travis finds Doug’s car and sees the city, still there, now isolated and deadly, through the fence. It’s a clever way of echoing the circular structure of the episode and one of the show’s most haunting images to date.

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  • The music at the top of the episode is of course “Perfect Day” by Lou Reed.
  • The music at the bottom of the episode is the splendidly titled “I Love You But I’ve Chosen Darkness” by The Owl.
  • Guest Star-o-Rama! First off, Jamie McShane who’s so much fun here as the increasingly sinister Lt Moyers; he’s had long runs in Southland and Sons Of Anarchy, appeared as Agent Johnson in Thor and most recently was a part of Netflix’s dark family drama, Bloodline.
  • Next up, Shawn Hatosy who has been a serial guest star on shows like Felicity, CSI and Numb3rs. He’s also another Southland alumni, where he played Detective Sammy Bryant and was a big part of Amazon’s recent detective show, Bosch. He’s also this week’s entry in “Actors Who Were In Cult Movies We Love”, given that he played Stan in the magnificent The Faculty.
  • Sandrine Holt is great this week as Doctor Exner. She’s also got the best genre qualifications of any of this week’s guest cast. She was a regular in the US versions of The Returned and on a season of House Of Cards. She’s also appeared in The L Word and 24: Day 5 as well as Starship Troopers 2: Hero Of The Federation, Underworld: Awakening and Terminator: Genisys.
  • Finally, John Stewart (no, not that one), gives Holt a run for her money. He’s great, and deeply sympathetic, as Doug this week. He’s also done good work in Horns, 2012, Supernatural (twice! As different people! Or maybe twins…) and Walking Tall.

Review by: Alasdair Stuart

Read our other Fear The Walking Dead reviews

 

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Fear The Walking Dead S01E04 “Not Fade Away” REVIEW

Fear The Walking Dead S01E04 “Not Fade Away” REVIEW

fear_the_walking_dead_s01e04_not_fade_away_main

stars 3

Airing in the UK on AMC
Writer: Meaghan Oppenheimer
Director: Kari Skogland

Essential Plot Points:

  • The story jumps nine days into the future, with the neighbourhood now under curfew, fenced off and one of 12 local safe zones. The army has arrived in force and is preparing to take back LA.
  • Travis has become a willing neighbourhood “mayor”, and point of contact for the slightly erratic Lt Moyers. Madison and the family are resolutely unhappy about this.
  • And, in fact, everything else. The Salazars hunker down and wait for treatment, while their daughter starts a relationship with Reynolds, one of the soldiers.
  • Nick claims to be doing well with rehab but is actually stealing morphine from an ailing neighbour.
  • Alicia can’t stand to be in the house and spends her time at the other (now very dead) neighbour’s house tattooing Matt’s symbol onto her arm.
  • Chris spends his time on the roof, recording self-righteous YouTube videos no one will ever see, which is a relief. Until he sees lights in a house out past the fences…
  • Travis, because he’s an idiot, ignores Chris. Madison, because she’s an idiot, does not. She cuts a hole in the fence and goes out to try and find out if it really is a survivor. She finds bodies, not only zombies but apparently healthy people, all of them executed…
  • Back at Camp Lovely, Liza is approached by Doctor Beth Exner, the military doctor. Exner gently points out how Griselda has been telling white lies to help her patients feel better and asks her to come aboard with the relief effort.
  • Elsewhere, Travis is strong-armed into helping talk down a friend who’s refusing to be screened. He does so, but, later, the man goes missing. Travis is told by Moyers that he’s been taken away because his fragile mental health was a danger. Moyers seems remarkably unconcerned that no one told the man’s family first…
  • As the episode ends, Madison is warned by Daniel that things could turn bad, fast. He turns out to be right as his wife and Nick are both taken away by the army. Liza, desperate to help, goes with them leaving a horrified Chris behind and Madison convinced she was responsible. A horrified Travis stumbles onto the roof and sees the light that Chris saw. As he watches, rifle fire illuminates the building and the light vanishes…

fear_the_walking_dead_s01e04_not_fade_away_car

Review:

It’s a “good news, bad news” kind of week on Fear The Walking Dead so let’s go with the good news straight out of the gate. While the arrival of the army is almost certainly a very bad thing for the characters it’s a great thing for the show. The slight time jump and retooling helps everything immensely, giving all the characters a new framework to push against and giving the show a sense of progress it most certainly lacked last week.

The opening scene is a good example of that, as Travis goes for his morning jog round the com pound. Yes, using “Perfect Day” over scenes of imminently doomed relaxation is a bit of a cliché but it works very well here. You get a sense of the neighbourhood as a soap bubble of normality, ready to pop at any moment. The way each character relates to that says a lot about them, and it’s interesting to see the show not only return to some of its familiar tropes but question them. Alicia yelling at Travis and Madison for having a stupid, pointless argument is a nice touch. Chris defaulting back to obsessing over whatever crusade his camera is pointed at is another.

Everything seems normal, but everyone can tell it’s only superficial. That creates huge amounts of tension that the episode feeds off, and gives some surprising characters some interesting stuff to do.

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Liza finds herself at the centre of the show’s new big dilemma; to help or hinder the military. Her part in the final scene is genuinely great and you can see her anguish at having to leave her son with no notice. It’s nicely played, even though the reactions to it, which we will get to, are not.

However, the breakout stars this week are Daniel Salazar and Alicia. Ruben Blades has always been great but his final speech here is chilling. It also neatly sidesteps the terror I had last week of his family being involved in a stereotypical cartel. Here, in one scene, we find out they’re survivors of tremendous political uprest. It’s a great scene and it repositions Daniel as less of an adversary and more of a possible Hershel figure for the series’ future.

And there’s Alicia. Alycia Debnam-Carey hasn’t been given a lot to do so far this season but this episode hands her some quiet, important character stuff. Her self-inflicted tattoo is surprisingly poignant and the fact she’s all but moved out, and no one’s noticed, shows just how wrapped up everyone else is in their business. It’s a smart, brave beat in the script and I’d like to see Alicia get more to do. Debnam-Carey’s up to the task and, unlike Chris and Nick, the character isn’t utterly unbearable.

Elsewhere there’s a lot to enjoy too, especially Jamie McShane’s wonderful turn as Lt Moyers and some really nice direction from Skogland. Oppenheimer’s script is also the tidiest the show has had so far, beginning and ending with the same image to show both how enclosed the family are and how badly things have changed. It’s really smart, fun stuff and a sign of the show firing on all cylinders.

Well…most cylinders.

I’ve talked a lot in the last couple of weeks about how Madison has the show’s most interesting arc. An authority figure confronted with the realities of what’s going on, she’s shifted gear effortlessly into frequently the smartest person on the show. She’s made some smart choices, looked after her people and is well on the way to being the sort of survivor Rick Grimes would nod wordlessly at. Which, as we know, is Rick speak for, “Well done, you’re an asset to the team.”

This episode? She’s an idiot.

One of the difficult things to remember about both Fear and the parent show is they’re set in a universe where zombie stories don’t exist. That’s why no one calls them zombies and why they’re such a terrifying and unfamiliar threat. As a result, you have to cut the characters at least some slack.

Unless, for example, they decide to go out into the city which they know is infested with things trying to kill them armed with… Actually nothing. She doesn’t even take the boltcutters she used to open the fence.

Because, oh yes, Madison snips a hole in the fence that’s the only thing between her family and certain death.

The sheer level of stupidity she shows here goes over and above the zombie ignorance (zombignorance? Zignorance? Yeah let’s go with that) you’d expect. She’s just a straight up cretin, and it’s nothing short of miraculous a horde of walkers didn’t follow her back. She didn’t even make it to the building Chris saw, turning the entire expedition into a vandalism nature trail with added dead people.

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Amazingly, while that entire expedition is the stupidest thing she does this episode, it’s not an isolated case. Her final line of the episode, after Nick and Mrs Salazar have been taken away is to look at Travis and snarl: “Liza did this.”

Yes, that’s right. The show’s smartest character has just decided that her sociopathic drug addict son who she knows was stealing medicine from a neighbour was taken away because her husband’s ex doesn’t like him.

There is nothing good here. It shoots for the same human drama of the previous episodes but instead lands on soapy nonsense, rendering a major ethical dilemma down to a clash between Travis’ girlfriend and his ex. It belittles the situation, it belittles Eliza and it all but collapses Madison as a character. You can see that the show is trying for moral ambiguity but it misses by a mile, instead landing squarely in the sort of fake drama nonsense the rest of the episode has been trying to convince you it isn’t. It’s such a shame, and, after last week, the start of a worrying pattern. If next week’s episode falls apart in the last few minutes we’ll know the show has a problem. Right now, all we know is this; the Army are trouble and Madison is an idiot. Let’s see which one of those changes next week. Let’s hope both.

The Good:

  • The entire supporting cast. Seriously, we meet four new characters and they’re all really interesting. Moyers’s jovial belligerence is the most fun, but Doctor Exner, who clearly knows just how bad things are, comes a close second.

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  • Also top marks to the show for the scene where Travis talks down Doug. Having two male characters talk about their emotions like that is the sort of smart writing this show excels at and needs much, much more of. “Everything will be okay. That’s all you have to tell them.” “Will they know I’m lying?” When this show’s dialogue is on form, it’s phenomenal. This exchange says so much about the fragile bubble of civility they’re all living in.

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  • “Don’t be a hero.” “No chance of that.” Likewise this exchange between Madison and Nick is just lovely. There’s a snap to the dialogue here the show’s not quite had before and it works beautifully.
  • “Relax, count your blessings. Be nice, so I don’t have to shoot you.” Moyers’s charming, slightly harangued and clearly not quite right. This line, funny on delivery, becomes much less so by the end of the episode.
  • Nick, under the bed, siphoning the morphine, is one of the show’s most repulsive images yet. Scarier than any walker.
  • Madison finally losing it with Nick works all the better because there’s no screaming. She’s just had enough. It’s a great moment for both characters which Madison in particular desperately needs this episode.

The Bad:

  • Madison being an idiot.
  • Madison deciding she’s on a daytime soap called End Of Days Of Our Lives.
  • “Another one burned last night. Better than TV.” Oh shut up, Chris. Your YouTube channel, that you will never access again by the way, has three subscribers. Two of them are your sockpuppets. The third is the MySpace guy.
  • The implication Ofelia is only making out with Reynolds for drugs for her mum: on the one hand, it’s smart survival tactics; on the other it’s an unnecessarily skeevy character beat.
  • We’re now four episodes in and Travis is just starting to maybe think he should perhaps think about considering changing his world view. Any time you’re ready, big guy. Please be ready soon.

The Random:

  • Shot of the episode is actually two. The first is at the top, as Travis runs round the hamster wheel the neighbourhood has become.

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  • The second is towards the end of the episode as Travis finds Doug’s car and sees the city, still there, now isolated and deadly, through the fence. It’s a clever way of echoing the circular structure of the episode and one of the show’s most haunting images to date.

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  • The music at the top of the episode is of course “Perfect Day” by Lou Reed.
  • The music at the bottom of the episode is the splendidly titled “I Love You But I’ve Chosen Darkness” by The Owl.
  • Guest Star-o-Rama! First off, Jamie McShane who’s so much fun here as the increasingly sinister Lt Moyers; he’s had long runs in Southland and Sons Of Anarchy, appeared as Agent Johnson in Thor and most recently was a part of Netflix’s dark family drama, Bloodline.
  • Next up, Shawn Hatosy who has been a serial guest star on shows like Felicity, CSI and Numb3rs. He’s also another Southland alumni, where he played Detective Sammy Bryant and was a big part of Amazon’s recent detective show, Bosch. He’s also this week’s entry in “Actors Who Were In Cult Movies We Love”, given that he played Stan in the magnificent The Faculty.
  • Sandrine Holt is great this week as Doctor Exner. She’s also got the best genre qualifications of any of this week’s guest cast. She was a regular in the US versions of The Returned and on a season of House Of Cards. She’s also appeared in The L Word and 24: Day 5 as well as Starship Troopers 2: Hero Of The Federation, Underworld: Awakening and Terminator: Genisys.
  • Finally, John Stewart (no, not that one), gives Holt a run for her money. He’s great, and deeply sympathetic, as Doug this week. He’s also done good work in Horns, 2012, Supernatural (twice! As different people! Or maybe twins…) and Walking Tall.

Review by: Alasdair Stuart

Read our other Fear The Walking Dead reviews

 

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Fear The Walking Dead S01E01 "Pilot" REVIEW

Fear The Walking Dead S1E01 “Pilot” REVIEW

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stars 3.5

 

Airing in the UK on AMC

Writers: Robert Kirkman & Dave Erickson
Director: Adam Davidson

Essential Plot Points:

  • People are turning into zombies but not many people have noticed yet…
  • …Just a tubby geek and drug addict – Nick Clark – and nobody listens to them
  • Meanwhile Nick’s sister is clever and sassy but sulky while…
  • …his divorced teacher mum is dating another teacher neither he nor his sister like
  • Nick kills his pusher when his pusher tries to kill him in LA’s famous storm drains (Terminator woz here!)
  • Nick’s mum and her unliked boyfriend (who’s actually seems like a sound guy but he’s probably got some dark secret) come to Nick’s aid and they end up having to kill zombie pusher

 

Review:

The Walking Dead with fewer zombies” was presumably not how Fear The Walking Dead was pitched to AMC but let’s be brutally honest – that’s what it is. The show has loads of things going for it: a brooding sense of growing tension, solid acting, an uncompromisingly flawed set of characters who feel uncomfortably familiar from real life and a backdrop of the less glamorous side of LA: drugs, crime, sulky schookids. All great meat for a gritty contemporary drama, sure. And you want to be impressed with it. And you are, to an extent. But… is it always going to be as zombie-lite as this pilot? is the nagging worry in the back of your head.

It’s a problem inherent in this spin-off. Being a prequel set right at the start of the zombie outbreak – before the world has cottoned on to what’s going on – there are going to have to be fewer zombies. If they were everywhere, this would just be The Walking Dead with different characters. So, wisely, Walking Dead creator Robert Kirkman and co have forced themselves to set Fear in a situation which means it has to be different to it parent show. This, it’s made pretty clear in a number of ways in this pilot (metaphor, foreshadowing, the dysfunctional central family) will a show not about survival but break down.

Not that you can imagine the Clarks being able to break down any further than they already. They are about as dysfunctional as dysfunctional gets. Drug addict son. Uncommunicative daughter. Both hostile to mum’s new boyfriend who’s own son hates him. Mum and boyfriend seem to be in the first flush of love but there are signs they don’t actually communicate or agree on crucial issues. The cliché in this kind of scenario is “tragedy brings them together” but as the tragedy seems on a slow boil, they could end up killing each other before the zombies do.

None of them is particularly likeable so far, which feels odd for a show that will necessary rely of them heavily to provide he human interest. Nick is worst; he’s some LA idea of “kooky” druggy, played like someone doing Captain Jack Sparrow cosplay who’s forgotten his costume. He’s actively annoying. The others are a little bland. Hopefully they’ll grow on us as the show progresses.

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What works well with this pilot is the way the zombie infestation is happening on the fringes of the action: in news reports, on the next road along, just over there The show plays on this cleverly. Is the guy in the next bed to Nick in hospital of not? Will we ever know? Is Alicia’s boyfriend late because he’s become a zombie? It all adds to a effectively cloying sense of paranoia that only the audience is in on – the characters are blissfully unaware. Well, except one lone teen who for once has a right to look sulky that, “Nobody understands me!”

Fear will have to be careful with this kind of “we know you know” trick, though. The reveal of LA in the first scene – all bustling and alive and zombie–ignorant – only has any clout if you were expecting the post-apocalypse in the first place. This kind of things will work as the show sets up this new world where the dead start walking but once the characters become aware it’s a technique with a rapid expiration date.

It’s a decent enough pilot with a lot of atmosphere and a lot of potential. There are just so few surprises in it. There are shocks, sure, but none of those moments that define great US TV drama at the moment when the script delivers a complete swerveball. It’s not predictable but neither does it challenge your expectations either.

Except in that it has surprisingly few zombies.

The Good:

  • Wonderful, low-key, building of tension
  • The first proper zombie scene is well worth the wait
  • Lots of tantalising hints of what’s happening just off-screen
  • Great production values
  • It all feels unsettlingly real and plausible

The Bad:

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  • Frank Dillane is far too mannered as Nick; he even limps theatrically. It’s a self-consciously “actorly” performance that pulls you out of the realism of the rest of the show
  • The effectiveness of couple of moments rely on you knowing the parent show. If you didn’t they’d just be slightly odd longueurs
  • The Clark family are just a tad too dysfunctional; they have a created for TV feel
  • Some of the soap – if you took away the zombie element – would be a little by-the-numbers

And the Random:

  • The diner towards the end of the episode (where Nick meets Calvin) is also seen in Pulp Fiction.
  • Two thing about the following screenshot. First, it’s an iPhone 4s, which was introduced in 2011. The Walking Dead TV series began in 2010, so it must have been set slightly in the future. Secondly, “You’d better be dead”? Bet she’ll soon wish she never texted that.

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  • With one teacher giving a lesson on Jack London’s man vs nature classic To Build A Fire, another teacher giving a lesson on chaos theory and graffiti like the one in the screengrab below, you do wonder if Fear The Walking Dead is laying on the foreshadowing just a little too thickly.

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