Change Your Image
fernandoschiavi
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try again* Some women are not really natural redheads, but they're notable and known because of their red hair, like Rachel Hurd-Wood, Christina Hendricks and Amy Adams.
Reviews
Fear the Walking Dead: All I See Is Red (2023)
The episode manages to disappoint in almost everything, not because it fails to deliver what it promised, as it does deliver the end of an arc and the farewell of a character
Having all the expectations of a decisive mid-season episode, "All I See Is Red" manages to disappoint in almost everything, not because it fails to deliver what it promised, as it does deliver the end of an arc and the farewell of a character, but it does so in such a bad way that it becomes infuriating. In addition to the problems present in episode 3 that return with force here, such as PADRE becoming bunglers and being easily ambushed, as well as the exclusion of scenes that would be essential to understand how the conflicts occurred. An example is the scene where Daniel suddenly appears and surprises PADRE's soldiers, and the scene cuts to them opening fire and gaining control of the situation. However, when we return to this core, Daniel's group is subdued, and it is never shown how they lost that battle.
Another extremely negative point is that, as it is a mid-season episode, in theory, it should be epic and decisive. But the feeling while watching the episode is that many things were procrastinated, and when it got here, they had to solve everything and wrap up these plots in less than 50 minutes. In the end, what we had is a true Frankenstein of an episode. The entire aforementioned conflict between Daniel's group and PADRE's soldiers seems to have been filmed at the last minute and without a script, just to add action to the episode, as it lacks a comprehensible geography in these scenes. Besides, the whole initial sequence of Madison reuniting with Morgan and both going after the horde trapped in PADRE's containers seems very rushed, and the episode's confusing editing fails to explain what happened there.
The episode also tries to give Madison a role in this plot, but the impression given is that she is just lost and thrown in the middle of it all. The same must be said of Daniel and especially June, who appears very little in this episode, and all her scenes, except for the dialogue with Dwight, are completely thrown away and useless. As if it were not enough to just finish the PADRE plot, the episode also tries to conclude and give a purpose to that horde of zombies, a conclusion to this poorly developed plot about the cure, which here simply stopped working, and they did not even bother to explain why, besides inventing the conclusion of the arc involving Morgan and Mo. Unfortunately, the episode fails to conclude almost any of them acceptably.
In the end, the "big villains" of the season are laughable. Two young people who lost their father and created the most clumsy strategy after this trauma. Maya Eshet, who played Shrike in these episodes, tries to create an interesting villain, but the text is so poor and empty that it was not possible to do much. On the other hand, Daniel Rashid, who played Ben, is one of the worst actors who has ever been through these series, without charisma, with such a bad performance that when he needs to convey drama or impose himself, he becomes laughable. In general, we can say that this plot involving the new villains, despite being short, quickly became saturated, besides not containing good development or a good story, as PADRE is nothing more than everything we have seen before, but worse. The resolution of these villains is the same as their development: empty and unexciting.
Probably one of the few things well-worked in this season is the story of Dwight and Sherry, and it is really sad to remember how difficult and painful this couple's journey was. Going from problems and conflicts with Negan and the Saviors in The Walking Dead to all the conflicts here in Fear. And at the end of this episode, they have to deal with the loss of Finch, their son with whom they could never enjoy a real family relationship, and who, when they finally do, is infected and killed shortly after.
The scene where they bury Finch is sad and heavy, besides carrying a very strong dramatic weight. Much of this merit comes from the actors who dedicated themselves a lot to their characters, even more than this series deserves, surpassing the terrible script and making something out of nothing. As if all the pain and difficulty were not enough, in the end, the two cannot even stay together and separate to each follow their own path, even after all the work they had to reunite. Dwight and Sherry's journey is one of the saddest in The Walking Dead Universe, and they are certainly two of the characters who have suffered the most in this world.
At the end of this episode, we have what seems to be Morgan's farewell from Fear the Walking Dead, a character who took over the series' protagonist in the middle of the fourth season. The episode ends with a tone of farewell and prepares the character's return to Alexandria, which, let's face it, he should never have left. He leaves Madison and the entire group that was like a family to him for years and sets off with Mo, beginning his search for Rick Grimes. In the end, the episode sets up a possible reunion between the two, which would be a great fan service since the chemistry between the two characters was one of the highlights and focuses of the main series' 6th season. Morgan's final scene ends up being the best of the episode, as he once again revisits a place that was fundamental to his journey. This time in the region where he lived and buried Eastman, a character who was fundamental in his psychological restructuring, and also the same place where he decides to bury Grace. Just like at the end of episode 4, once again, Morgan says goodbye to his past.
The season, which was average until now, suffers a big overall drop with this disastrous episode. A season that promised to fix the mistakes of the previous one, but repeated many of them. The last hope is that the final episodes have good plots and can steer the series towards a minimally decent ending, since now, in this second part, we will have the return of Strand and Luciana, two of the series' veteran characters, in addition to the probable return of Troy. And it gives us to understand that these final episodes will focus on the veteran characters and that they may have a similar feel to the series' first phase, its best, for sure.
Fear the Walking Dead: More Time Than You Know (2023)
Even being a med*ocre episode, it still gives a sense of progression and provides a dignified and surprising end for one of its main characters
Let's talk about the negatives and the countless inconsistencies of the episode. One issue that has been worsening and making the whole PADRE plot silly and comical is the characters' ease and lack of difficulty in either surrendering to or defeating the group members. This has become increasingly annoying and comedic, but in a bad way. The scene where Mo manages to throw herself to the side of a soldier's gun and then Dwight and Morgan easily subdue them is pathetic and seems like it was directed by a ten-year-old. The lack of care from the writers and directors in crafting action scenes and in building the villains' danger becomes really evident.
Apart from the poor handling of action scenes for much of the episode, it is also full of terrible, cringeworthy dialogues that border on secondhand embarrassment. The final scene's dialogues between Mo and Grace are genuinely good and emotional, as are the ones she has with Morgan before leaving him. However, the dialogues in the scene where Mo is trying to pass through PADRE's "Young Soldiers" are embarrassing. The character tries to deliver an emotional speech, but it is so poorly written that it evokes nothing but shame. Moreover, regarding this character, the episode manages to break any empathy the audience could feel for her, turning her into a truly annoying child. All the events that happen to her throughout the plot should serve as a point of growth for the character, but in the end, she simply regresses, making her whole journey pointless. All the dialogues and scenes she had with her mother before she died should serve as a stepping stone for the character to grow and evolve, but the script simply ignores all of this in an attempt to generate more conflicts, which is a very questionable decision that makes no sense within the character's arc that has been built in this final season.
Besides the various forced inconsistencies surrounding the character, throughout the season, the series works on Mo's lack of knowledge about some things and objects that were common in the normal world but are practically non-existent in a post-apocalyptic world, like the kiss in the previous episode and the phone in this one. The character not knowing about these seems acceptable for the script, but her ability to handle and recognize limited-access medical devices does not seem like a problem. In fact, the scene of her being able to use the medical equipment without any difficulty and apply the radiation to Grace, only with June's help, is ridiculously forced.
Since her introduction in the 5th season, Grace, despite being a good character with a good interpreter, has always been trapped in repetitive arcs and plots, and when they did not happen, she was sidelined, as was the case for much of the 7th season. Her plots really boiled down to her precarious health with the growing cancer in her body, and her trauma involving loss and motherhood. The character has been present in four of the eight seasons of the series, but her plots were only these, which is really a considerable waste. Grace's death was shocking and, at the same time, unpredictable, since a few episodes ago, a probable functional cure for zombie bite infection had been established. Just like Finch's fate, the episode builds tension around Grace's survival. Throughout the plot, the episode slowly bids farewell to the character until it reaches the fateful moment of her death, which, despite being sad, becomes fundamental to the story. The scenes where she says goodbye to Morgan are good and have a necessary dramatic weight for them to work. However, the most emotional one is certainly the montage of Grace and Mo's farewell, where scenes from the present and past are interspersed, telling the whole trajectory of the character through her perspective and narration, to the background of a melancholic soundtrack. This, certainly, is the most emotional scene of the character in the series, surpassing the ending of "In Dreams" in the 6th season.
Even more concerning are the narrative inconsistencies and the character arcs, as what irritates and disappoints the most is the dismissal of all the character arc construction around Mo, who even after everything she went through and experienced in this episode, ends up returning to PADRE in the end. Even though she was the character who, in the last two episodes, was willing to do anything to destroy it and defeat Shrike. In the end, it feels like the script is more concerned with creating cheap conflicts than with maintaining coherence with what has been established in each episode.
The whole PADRE arc, despite being recent and having few episodes, is already more than saturated. The series does not seem to take it as seriously as it should, and all the development around the group and its theme seems tired and repetitive. All that remains is to wait and see if this plot will conclude in the next episode or if it will be extended to the second part of the season. The season is still reasonable despite everything, not as bad as the previous one, but far from reaching the peak that this series has already delivered. Even being a med*ocre episode, it still gives a sense of progression with the story, besides preparing an interesting hook for the next one, and, despite everything, provides a dignified and surprising end for one of its main characters.
Fear the Walking Dead: King County (2023)
Revisiting King County brings back dark memories and triggers the most questionable part of his sanity in Morgan
Morgan returns to King County, Georgia on a quest to put down his zombified son, Duane. Grace and Mo follow him, as well as Dwight and Sherry, who were forced into hunting Morgan by Shrike. Morgan reveals his wife, Jenny, bit Duane after he couldn't bring himself to put her down when he had the chance. Morgan and Grace are eventually captured and forced to show Shrike's forces that they are telling the truth about Morgan's mission, but they find no sign of Duane. Dwight and Sherry kill the guards with them, unwilling to allow Morgan to be executed, and help Finch escape from Shrike's captivity.
Left alone, Grace confesses to Morgan that she is terminally ill from radiation sickness. While trying to escape from Morgan's burning house, Mo discovers her father chained up Duane in the attic years before during his period of insanity. With Mo in danger, Morgan is finally able to shoot Duane with the gun that Rick Grimes had left for him and buries Jenny and Duane's bodies. Shortly thereafter, a walker bites Grace, and Morgan vows to get her to June for help.
Recently, we've seen various works that rely on nostalgia to elicit emotions from the audience but fail to use it to enrich the screenplay as a whole. Fortunately, this is not the case with "King County," the fourth episode of the 8th and final season of "Fear the Walking Dead." It wouldn't be absurd to consider this one of the best episodes of the entire spin-off because what we find here is not an episode of "Fear the Walking Dead," but rather an episode of "The Walking Dead." After a third episode full of errors and inconsistencies, the series gifts us with a nostalgic fourth episode that simultaneously advances the story and concludes character arcs that started more than a decade ago.
One of the most forced aspects of the entire episode is the ease with which characters know where Morgan (Lennie James) is headed. The episode attempts to explain this inconsistency, but the justification is hardly plausible and makes it seem like the characters know his location just because the script needs them there at that moment. The episode features very well-written text rich in its most minimalist details and boasts highly competent direction. However, the scene where Finch (Gavin Warren) attacks Shrike (Maya Eshet) with a chair and easily escapes from the PADRE base seems extremely poorly conducted.
Additionally, it highlights an escalating problem with each episode: PADRE are the most foolish villains in the entire franchise. It is remarkable how easily characters escape the base or confront their "soldiers." As seen in the first and third episodes of the season, where Madison (Kim Dickens) and Mo (Zoey Merchant) leave PADRE's fortress with absurd ease, or how Daniel (Rubén Blades) manages to ambush and capture members of the group without any difficulty. These issues related to the group's incapability and how easy it becomes to subdue them removes all tension, mystery, and danger around them, making these new villains, instead of being threatening, laughable.
Revisiting this iconic setting from the first season of the main series brings back to this universe a taste of the sensation this work caused at the beginning, besides making us reflect on everything that happened to these characters over time. Revisiting the house where Rick (Andrew Lincoln) and Morgan hid from zombies in the first episode of this universe reminds us and makes us rethink the entire journey these two characters had over the years, and reflect on who they were and who they have become. When the episode explores these settings, which were very well recreated by the way, it constantly makes us reflect and use this narrative mirror. This goes from the evolution of the characters to the entire work of scenery deterioration. How dead and destroyed this world is and how much humanity these characters have lost over the years.
Revisiting King County brings back dark memories and triggers the most questionable part of his sanity in the character. Then, he finds himself in a situation where he needs to gather strength to move forward or let his past literally kill his future, as in the scene where Morgan needs to shoot Duane to save Mo. This is not just a scene that shows the character managed to confront his "ghosts," but also a scene that shows he gave up his past, in this case his son, to dedicate himself to the future. The scene shows that he finally managed to detach from his old family so that he could live his new life.
Besides the hallucinations he has with his ex-wife Jenny (Keisha Tillis), which appear every time he needs to make a crucial decision. When he finally manages to ignore her, he sets aside his dead wife to care for and save his current wife, Grace (Karen David), who is dying. After ignoring Jenny and finally ending Duane, Morgan manages not only to let go of his past but also to commit to the future. And the scene that cements this character transition is when he buries his ex-wife and son, where he seals his past and places a white flower on their graves, symbolizing forgiveness and peace. "Forgiveness," as he says in front of their grave, and Peace symbolizes his current state of finally having managed to detach from his past. The white flower may also represent the character's passage to a new life and a new journey that lies ahead. These scenes are symbolic, and the text is very rich in finally putting an end to this story. In the end, what is conveyed is a feeling of conclusion, not only of a character arc but also of a cycle.
Fear the Walking Dead: Odessa (2023)
All the mystery surrounding this group and who was behind it, which had been built up since the end of the previous season, is broken in a ridicul*us way
When it was announced, "Fear" was marketed as a series that would address the beginnings of the apocalypse within the universe of "The Walking Dead," and one of the main things fans expected to see was the origin of the virus and the potential cure. However, as the seasons progressed, the series strayed from this concept and shifted its focus more towards survival.
Over the years, "Fear" significantly lost its audience. At its launch, the series had achieved a record viewership worldwide, even surpassing the main series and the more recent "The Last Of Us." However, due to the questionable quality presented over the seasons, the audience gradually abandoned the series, leading up to this 8th and final season. In essence, it took the series about eight years to answer a question, and it chose its worst phase to do so, as the main series, which carried the highest viewership in this universe, has ended, and the viewership of this spin-off is the lowest of all. Thus, they answered a question that few will know the answer to and that will not affect the main series, since it has already concluded.
Besides these issues, the idea that a cure was discovered by a nurse who isn't a scientist, and with a group that lacks half the resources of a CRM (Civic Republic Military) or Commonwealth, is a huge and forced convenience. Moreover, if this cure is not addressed in upcoming spin-offs, all of this will have been in vain.
A positive aspect highlighted in other episodes was the fact that the season had fewer episodes, which helped the plot to have more substance and pace, something this chapter seems to have failed to capitalize on. Many of the scenes seem disjointed and unresolved, as if during editing many were cut. For example, the scene where Mo (Zoe Merchant) and Dove (Jayla Walton) suddenly find themselves walking in the forest and investigating the schemes of PADRE, and how they got there and why they decided to investigate, especially Dove, who in previous episodes seemed satisfied with PADRE's actions, remain unanswered during the episode.
Additionally, the poor handling of the time passage between the previous episode and this one, which seems to be a direct continuation but simultaneously states it takes place a few days later, makes the episode quite confusing.
The reunion of these two major characters was a huge disappointment and a waste of potential; the episode does not sufficiently explore their relationship, something that could be better explored in future chapters and has great potential, but "Odessa" squanders this golden opportunity for much of the time. Fortunately, this episode saw the return of one of the best and most beloved characters of the series, Daniel Salazar (Rubén Blades). A character who has been winning over audiences since the first season, and rightfully so, as the actor is always very charismatic and his Panamanian accent adds even more charm to the character.
Moving from one of the episode's positives to one of its major negatives, we encounter a series of unnecessary suspenseful elements that the episode introduces. One of them is the entire mystery behind the character Dove, who had until then been very underexplored, resulting in a lack of connection between the character and the audience.
The episode creates situations to place her in specific locations at exact moments, and from there, it generates clumsy suspense around the character's parentage. The episode thinks it's developing an interesting plot for the character by putting her in conflict with everyone in search of her true identity and origin, but it fails because it executes this idea in such a weak and generic manner.
Another poor reveal in the episode concerns the identity of PADRE. All the mystery surrounding this group and who was behind it, which had been built up since the end of the previous season, is broken in a ridicul*us way. This third chapter is filled with flashbacks that serve to explain the origin of this group, and it could not have been more cliché. The episode tries to deceive us by working with the idea that the man leading PADRE might be Krennick (Michael B. Silver), the father of Shrike-Sam (Maya Eshet). But we later discover that Krennick died trying to save his children Sam and Ben (Daniel Rashid), and that the mysterious man behind PADRE is Ben, and that he and his sister developed and shaped what PADRE would become. All the flashbacks serve to deceive us and briefly tell the story of PADRE, but this is shattered by a terrible revelation that diminishes the merits of this group and their level of threat, because discovering that the great mysterious leader is nothing more than a teenager pretending to be someone he is not, completely nullifies the mystery and threat that had been built up around this group.
"Odessa" is by far the worst episode of the season so far. It has the weakest script, the worst editing, and technical work. It is filled with events that, instead of enhancing the story, diminish it, destroying some of the good ideas that had been built up until then. Episodes like this, with such empty and clichéd stories, led to the downfall of "Fear the Walking Dead." But despite some flaws, the episode still moves the story forward and maintains the season's fast pace, giving us hope that this arc around PADRE might be concluded in this first part of the season, leaving room for the last six episodes of the series to tackle a new plot. We just have to wait and see if the next three episodes will conclude this arc in a worthy or forgettable manner. The season suffers a significant drop in quality overall with this episode, but the hope for a good season and good episodes still persists, depending on whether the next ones are as good as the first two or as bad as this third one.
Fear the Walking Dead: Blue Jay (2023)
The episode develops June and how she was in last years, and certainly, the most striking point of the episode is the fact that it addressed the idea of a cure
June, living alone in the wilderness, attacks PADRE Collectors and cuts off their trigger fingers. She meets a desperate father, Adrian, who is searching for his daughter, Hannah. During an ambush, June discovers Dwight, Sherry and their son Finch, who has appendicitis and needs surgery. June reluctantly agrees to help and takes them to an abandoned lab. Joined by Adrian, June admits she performed experiments with radiation to find a cure to bite infections after having deduced that Alicia had survived due to her previous exposure. However, the radiation levels were fatal to her test subjects, causing June to abandon her research. After finding Hannah amongst the test subjects, a devastated Adrian allows himself to be devoured rather than live without her.
June saves Finch and decides to flee PADRE with Dwight and Sherry. They are caught by Shrike, who cuts off June's trigger finger and has Finch bitten by an undead Adrian in order to motivate June to resume working on a cure. Elsewhere, Morgan admits his guilt over something he didn't do in his past is holding him back in his relationship with Mo. Madison helps Morgan escape, remaining behind and ordering him to go fix whatever it is.
"Blue Jay" seeks to distance itself from the tendencies of the previous episode. While "Remember What They Took From You" featured a more fast-paced narrative and was filled with events, "Blue Jay" takes the opposite approach and focuses on a more contained and closed story. What might initially seem like a negative point for breaking the season's rhythm turns out to be a significant success.
The episode begins with a beautiful sequence of scenes where much is shown and little (basically nothing) is spoken. The scene contains no dialogue, just ambient sounds, and displays the daily life of June (Jenna Elfman). It's worth noting the changes in the appearance of this character, who seems to have received more attention from the production, as one of the biggest criticisms regarding the previous episode is the lack of visual changes in the characters after a seven-year time jump. June looks completely different from the last time we saw her, and the changes involve not only her appearance but also her personality and psychology.
The character appears to be tormented by a kind of trauma and internal conflicts, and this is exposed in the episode in a way that isn't gratuitous. Jenna Elfman conveys all these emotions and feelings with the finest details of her exquisite performance in this episode, whether through her body language that seems rougher and more aggressive yet still retains the essence of the person she once was, or through her gazes and facial expressions that tell us everything the character seems to be feeling without the need for expository dialogue.
The episode well handles the mystery surrounding the character and what might have happened to her during these seven years. This agonizing mystery is fueled through the actions the character takes in refusing to help a father who wants to find his daughter, something the character would never do in the past, considering June has always been portrayed as a good and humanitarian person. Not only this act of negligence says a lot about what the character has become, but how she faces and conflicts with herself in a simple scene where the character is sitting thinking about all this. These small details of acting enhance June and show a great effort and dedication by Jenna, who over the seasons has proven to be one of the best (if not the best) actresses in the entire series, and who has won the hearts of fans with this rich and complex character.
In addition to featuring an exquisite performance that carries and highlights the episode as a whole, "Blue Jay" is also rich in technical successes, from its evolving soundtrack, which has been improving since the previous episode and becoming ever better, to the new image resolution aspect that gives a cinematic air to the series, including the editing and montage that, although slow, never make the episode feel massive or dragged, and the beautiful cinematography of the episode that maximizes its settings to extract the most beautiful shots. The entire setting of the abandoned train is technically meticulous from its exterior and especially its interior.
The episode's cinematography cleverly uses the nighttime setting and utilizes lights to further enrich its composition. All the external takes of the train showing that small horde of zombies slowly approaching are beautiful and brought a slight nostalgia for when the main series used more open environments to show the vastness of the zombies, something that was very well done in the second season of The Walking Dead, during the farm era.
The episode also boasts impeccable direction by Heather Cappiello, who here returns to direct her fifth chapter in the series and can be said to be the best among all she has directed. Not only for having extracted one of the best performances of Jenna Elfman in the entire series, but also in the competence and delicacy she possesses in scene management.
Certainly, the most striking point of the episode is the fact that it addressed the idea of a cure, but not just mentioning it as other series in this universe do, but also coming as close as possible to it actually existing. After Adrian learns about the whereabouts of his daughter, he threatens June and she reveals the details of the experiments that were conducted in that car. And all this was initiated due to events with Alicia (Alycia Debnam-Carey) in the previous season, the idea that radiation might contain the zombie infection was what generated this whole series of experiments.
Throughout the explanation, June asserts that radiation can contain the infection, but the high level of it might end up harming the person even more. This is the first time we have an affirmation that it is possible to survive the zombie infection. This plot should be better developed in the upcoming episodes, however, it is worth mentioning that working on a theme like this, in this case, the cure, is entering a somewhat delicate territory. This part of the episode is not a negative point in itself, nor positive; everything will depend on how the season will work this idea in the upcoming episodes. If this turns out to be true and they do not know how to dose and make it credible, this will indeed be a huge negative point and a real problem for The Walking Dead Universe, as it is a plot that would encompass not only Fear but also all the other series.
Fear the Walking Dead: Remember What They Took from You (2023)
The episode once again serves as a kind of soft reboot for the series, which had completely lost its way after previous events
Taken to PADRE, an island off the coast of Georgia, Morgan and Madison overpower several guards and rescue Mo. Seven years later, a suicidal Madison is imprisoned for her role in Mo's escape. Learning about Madison, a young girl named Wren attempts to enlist her help for training to take part in PADRE's future, but Madison discovers she is actually Mo, and has been brainwashed by PADRE. They escape the island and encounter Morgan, now working for PADRE, who believes that Mo is safer on the island. Morgan leads them to a houseboat in a walker-infested swamp, where Mo finds references to Morgan's past life.
Under attack by walkers, Morgan admits a similar attack seven years ago caused him to give Mo up to PADRE for her safety. Grace arrives and rescues the group, but Morgan and Grace reluctantly decide to turn Mo back over to PADRE. Now disillusioned with PADRE, Mo begs her parents to flee with her, but they refuse. Madison is taken back into custody, while Morgan is fired out of fear that he will eventually choose Mo over PADRE. Back on the island, Mo claims to have learned her lesson and resumes her training with newfound confidence.
The episode once again serves as a kind of soft reboot for the series, which had completely lost its way after previous events. This season opener consists of just an isolated, introductory episode. It does not promise to be grandiose at any moment, yet it masterfully fulfills what it promises for most of the time. Right from the start, we encounter something truly surprising within the realm of expectations for this episode. It begins exactly where the previous season left off, showing us the outcome of the boat scene from the seventh season, where Morgan Jones (Lennie James) and Madison Clark (Kim Dickens) are taken to PADRE. This initial scene isn't the big surprise, but rather everything that follows. After the episode's opening, we follow the story from the perspective of Mo (Zoey Merchant), after a time jump of seven years since the events of the first scene.
The idea of following this character as the protagonist of the episode is indeed a novelty, as we have never before followed this series through the viewpoint of a child. The episode delves into the daily life of the character within the fortress of PADRE, which is centered on an isolated island. The first ten minutes of the episode focus on immersing us within this new community and its doctrines. From the character's viewpoint, we begin to understand how the entire system around PADRE works and perhaps what her childhood within this fortress was like. Apparently, PADRE aims to invest in training children to become a sort of future soldiers. The daily regimen within this community is similar to that of specialized military training, from the method of educational teaching to the requirement of enhanced physical combat training. These initial minutes help situate us in the reality in which the character has been immersed over these seven years and also use this setting to make the viewer develop a certain empathy and connection with her. The episode is very successful in creating this identification with the character, because despite at times seeming somewhat irritating, it's possible to feel moved by and relate to her outrage. Zoey Merchant was a perfect choice to play the character, as if this role had fallen into the hands of a less experienced actress, perhaps the episode would not have worked as a whole. She is competent in conveying her emotions and frustrations, and despite almost bordering on cliché, the actress strives to maintain empathy and sell the emotions of her character.
We knew from the first announcements about the season that there would be a time jump that might align Fear's timeline with the main series. But surprisingly, the season addressed it within a few minutes, right after resolving the continuity from the previous season. One of the biggest problems with this episode is undoubtedly the amount of expository dialogue trying to explain the passage of time. Countless times the timeline is explained through dialogue, even after it had been very well established. The gratuitous repetition of these expository dialogues ends up making the script somewhat poorer, as it seems that the episode is failing to tell its story, which is not true, because after identifying the protagonist and the first dialogue passage explaining the seven years that have passed, the episode had explained the passage of time very well. The time jump also gave us a new look for Morgan, and the episode leaves open that many things have happened in the meantime and that the character has undergone changes in his personality and thinking. Now he seems somewhat more violent and hopeless, something that was very rare to see with him.
Without a doubt, the end of the previous season left us curious about this new group and community. And this start of the season explored well even how the whole doctrine of this group and their ways of life work. But PADRE is not such an original idea in Fear the Walking Dead. The idea of characters being trapped and separated by an entire community and forced to live a life they do not want has already been seen and explored a few times within the series. Like the entire 3rd season, where the characters live inside the Otto family's Ranch, and also in Virginia's communities in the 6th season. In the end, this idea presented in PADRE is indeed more of the same, however, it is worked on and explored in such a different way and on an even larger scale, that it makes it seem that the more of the same is something new and different. Initially, this is not a problem, but everything will depend on how this season unfolds and how this plot will develop and conclude, whether this plot will be a copy of two others we have already seen and that will just be "more and bigger," or if it will unfold in an unpredictable and surprising way, leaving this first impression aside.
Fear the Walking Dead: Amina (2022)
This episode attempts to offer closure to her character's arc but leaves several questions unanswered, making it feel incomplete and hurried
"Fear the Walking Dead" season 7, episode 15, titled "Amina," is a poignant yet controversial installment in the series, marking a significant narrative shift and character exit. The episode revolves around Alicia Clark as she confronts her fate amidst the fallout of a devastated world. The narrative, driven by a mix of flashbacks and current struggles, weaves through Alicia's past and present, culminating in a crucial moment of self-discovery and resolution.
The episode begins with Alicia facing the consequences of her deteriorating health due to the bite she sustained. As her physical condition worsens, the narrative delves into her psyche, exploring her fears, hopes, and unresolved issues through encounters with both real and imagined figures. The titular character, Amina, appears as a masked young girl, representing a younger, more innocent version of Alicia. This visual metaphor serves to navigate through Alicia's journey, reflecting on her evolution and the burdens she carries.
Significant moments in this episode include a series of poignant flashbacks that highlight key events from Alicia's past, providing insights into her motivations and the pivotal experiences that shaped her. These flashbacks are juxtaposed with her current predicaments, creating a compelling narrative thread that examines the themes of legacy, survival, and personal transformation. The episode is particularly strong in its visual storytelling, using symbolic imagery and dream-like sequences to convey the emotional and psychological landscape of Alicia's mind.
The conclusion of "Amina" is bittersweet and somewhat divisive among fans. As Alicia decides to walk into the unknown, symbolically walking into a cloud of smoke, her departure from the series feels both abrupt and underwhelming. This episode attempts to offer closure to her character's arc but leaves several questions unanswered, making it feel incomplete and hurried. Despite its narrative shortcomings, the episode succeeds in delivering emotional depth and character introspection, framed by the hauntingly beautiful performance of Alycia Debnam-Carey. Ultimately, "Amina" is a reflective chapter that attempts to honor its character's journey, albeit not without its flaws.
Fear the Walking Dead: Gone (2022)
"Gone" is totally out of the ordinary when it comes to the seventh year, a giant catch-up race that they will have to fill from Madison's departure to her return here
Morgan washes ashore in Louisiana, and is rescued from a posse by Madison Clark, who kidnaps Mo and turns her over to PADRE. Having survived the stadium fire with lung damage that requires her to use an oxygen tank, Madison was recruited by PADRE to kidnap children with the promise of helping her find Nick and Alicia in return; she eventually decided to forget them due to the acts she committed. After realizing who Madison is, Morgan lies that he can take her to her children if she leads him to Mo. Needing another baby to trade for Mo, Morgan and Madison convince Ava, a pregnant survivor, to take PADRE's offer of safety.
Morgan admits the truth about Nick and Alicia's fates to Madison, while it's revealed that Ava faked her pregnancy in order to get into PADRE and find her missing daughter. Morgan is forced to surrender Madison to the posse, who bury her in the sand to drown at high tide. Morgan rescues Madison before they discover that the posse has been killed by PADRE. Madison agrees to help Morgan rescue Mo. Posing as another Collector, Morgan offers the location of his group to PADRE, and he and Madison are blindfolded and taken to a ship for transport to PADRE.
"Gone" is totally out of the ordinary when it comes to the seventh year, no selective radiation in the air, nor saturated photography, nor taking off and putting on masks. It is actually a giant catch-up race that they will have to fill from Madison's departure to her return here.
Because to my surprise, Morgan and Madison work as a duo, even if it is necessary to accept the blatant change in the zen ninja's personality (yes, he has changed a lot when it comes to Strand, but putting a "pregnant" woman at risk is not like him), which would have been much more interesting to have seen back at the time of the crossover that stole the series' protagonism. But let's leave the past aside as Chambliss and Goldberg do in the script, which does not make much effort to justify Madison's survival (thankfully) other than flashbacks that are so confusing in their temporality, already showing the bias status of a baby-stealing villainess whose connection is with PADRE, just to say that nothing was so thoughtless during all this time.
For truth be told, there were fifteen episodes of pure endless dragging and stagnation that had no purpose other than to discard the huge cast in the most haphazard way possible (it's even funny to remember that in the middle of a radioactive apocalypse there was room for the CRM to appear) so that finally the reward is the return of an old character, taking away all the glamour from No One's Gone (yes, this is my exaggeration. So what?), holding back those who intended to flee the series.
And they succeed in a certain way, despite fostering the mystery about the season's MacGuffin for the next one, the mother kidnapper conflict works in terms of the acceptable margin that is written by the showrunners, corroborating Madison's "reckoning" with her past and in partnership with Morgan. So yes, there's some potential in this little scheme. Whether it will succeed is another story.
If Madison's return was rewarding, I say it was not. Just satisfactory compared to what came before, which was so horrible that it made me consider jumping ship numerous times whenever I heard the word PADRE, more than in the gruesome moments witnessed in the past. There is no hope for this series, dear sadomasochistic friends. That's why I'll continue. Confusing, isn't it?
Fear the Walking Dead: Divine Providence (2022)
"Divine Providence" throws away a confrontation that could have been the season's climax to play with the relationship of old friends
After Alicia arrives at the Tower with her army, Strand invites her, accompanied by Daniel, inside under the guise of discussing peace terms. Strand reveals his men are leading the radioactive walkers from the crater to the Tower to deal with Alicia's army while he keeps her prisoner until she comes around to his way of thinking. Breaking free, Alicia has a standoff with Strand who, after learning that Alicia doesn't have much time left to live, agrees to forgo his plan if she spends the time she has left with him. This change of heart causes Wes and the Rangers to mutiny, intending to kill Strand, Alicia and everyone else in order to protect the Tower.
Strand, Alicia and Daniel reach the roof and turn off the beacon, while Daniel attempts to find Ofelia based on Luciana's lies to him. Strand brings Daniel to the dying Charlie, who together with Alicia, snaps Daniel out of his delusions, convincing Daniel to look after Charlie for what little time she has left. Strand and Alicia are captured by Wes, and Strand, to Alicia's shock, kills Wes despite her attempts to talk him down. As everyone makes their way into the Tower with the horde close behind, Strand betrays Alicia, believing she will never forgive him. Alicia overpowers Strand and broadcasts a message calling other survivors to the Tower, but their fight accidentally sets fire to the Tower as Alicia passes out.
There are many issues that cannot be addressed in just one review, and many for the producers to justify, which is best forgotten like the lost children of the 5th season (now I've gone too far...). But of course, they wanted to have Victor, Alicia, and Daniel starring in one episode (the golden trio) with cheesy scenes that are painful to watch and dialogues that bleed the ears, in an attempt to evoke some emotion from what was once the friendship between the con artist and the rebel, and extract some nostalgia from it or something.
If there is one thing that works in the episode, it's Daniel, who although not very well in his mental faculties, seems to be the only one aware of what it is to be at war, sparing no effort to do what needs to be done even with liars unfortunately spared by the script. Also, the revelation of Ofelia's death, which, at least, is consciously quick and brings a sequence of clichéd flashes to the hairline, but which has power thanks to Rubén Blades.
"Divine Providence" throws away a confrontation that could have been the season's climax to play with the relationship of old friends and still stretch any hope of a good villain, with a middle-aged demented man being the only distraction in this circus.
Fear the Walking Dead: The Raft (2022)
"The Raft" is a solid episode that adds depth to the characters of Sarah and Dwight while delivering a tense and engaging storyline
Dwight and Sherry rescue a woman named Maya from walkers and Dwight sends her to the Tower despite the escalating war with Strand; Sherry expresses fears that Dwight will take Strand's deal to protect her and become the man he used to be while serving Negan. Having escaped with Mo, Morgan lures Strand's walker moat away, leaving the Tower vulnerable until nightfall. Morgan is joined by Alicia, who admits to being afraid that she won't be able to kill Strand when the time comes. Leading the herd to the crater, the two find it to be almost empty, as someone lowered a ramp into it so the radioactive walkers could escape.
Dwight and Sherry are chased by Wes and several of Strand's Rangers in search of Mo. The two escape to the bunker, using it to contain the herd while they escape through the drainage pipes. Trapped by a ceiling collapse, Sherry reveals she is pregnant before using Alicia's recovered melee weapon to dig their way out, reuniting them with Morgan and Alicia. With the Pennsylvania having to be abandoned due to a radiation leak, Alicia prepares to lead everyone in an attack against the Tower, while Morgan departs with Mo on the sub's emergency life raft to find a safer home for her.
In the thirteenth episode of Fear the Walking Dead's seventh season, titled "The Raft," the narrative shifts focus to a smaller, more intimate storyline centered around Sarah and Dwight. The episode opens with Sarah and Dwight encountering a group of survivors who have been living on a raft, isolated from the dangers of the mainland. However, tensions arise when the leader of the group, Marcus, reveals his true intentions and threatens Sarah and Dwight's safety.
One of the standout scenes in the episode is when Sarah and Dwight confront Marcus, leading to a tense standoff that tests their resolve and highlights the complexities of trust in a post-apocalyptic world. This scene is not only gripping but also serves as a catalyst for Sarah and Dwight's character development, as they are forced to confront their own beliefs and motivations.
Thematically, "The Raft" explores the concept of community and the lengths people will go to protect their own. The episode also touches on themes of redemption and forgiveness, as Sarah and Dwight grapple with their past actions and strive to find a sense of purpose in a world that has been torn apart by the undead.
Overall, "The Raft" is a solid episode that adds depth to the characters of Sarah and Dwight while delivering a tense and engaging storyline. While it may not have the scale or scope of some of the series' larger episodes, it succeeds in delivering a compelling narrative that keeps viewers on the edge of their seats. With strong performances from the cast and a well-paced storyline, "The Raft" is a standout episode in Fear the Walking Dead's seventh season.
Fear the Walking Dead: Sonny Boy (2022)
While it may not offer significant plot progression, it excels in character development and thematic exploration
As a paranoid Strand searches for what he believes is a "resistance" in the Tower, a radio is found amongst Howard's belongings and Mo vanishes, causing Strand to suspect that Howard is a traitor. Privately, Howard reveals to John that he is loyal to Strand because his family left him before the apocalypse and he hopes that they will find the Tower some day. John deduces that June kidnapped Mo and is trying to sneak her out through the tunnels to Morgan. While John is trying to stop her, a storm washes in a number of walkers, trapping the two. John reveals he contracted terminal radiation sickness while rescuing Charlie; John sees securing the Tower and Mo's future as his legacy.
Strand rescues John and June, and John confesses to planting the radio on Howard so that he could become Strand's new partner. Unmoved, Strand forces John to throw Howard off of the Tower's roof before revealing that Howard's family had already been dead for months, which Strand had hidden from him. Realizing that Strand is beyond reason, John dons a makeshift suit of armor and carries Mo through the walker moat to Morgan. John is bitten in the process, and with the herd closing in, he sacrifices himself so Morgan can escape. Strand threatens to kill June and Grace if Morgan ever sets foot in the Tower and broadcasts an invitation to everyone else to join him. With Howard and John dead, Strand takes on Wes as his new partner.
Season 7, episode 12 of "Fear the Walking Dead," titled "Sonny Boy," explores the complexities of trust, loyalty, and sacrifice in a post-apocalyptic world. The episode primarily focuses on the aftermath of the group's decision to trust Howard, a new character whose true intentions remain ambiguous. This installment effectively builds tension and raises questions about the nature of survival and human connection.
The episode opens with Howard proving his worth to the group by successfully navigating them through a dangerous area infested with the living dead. However, doubts about his reliability begin to surface as his behavior becomes increasingly erratic. This sets the stage for a series of intense confrontations and moral dilemmas, as the group must decide whether to trust Howard or abandon him to ensure their own safety.
One of the standout scenes is a heated exchange between Howard and Alicia, where their conflicting views on survival and morality are laid bare. This scene is not only emotionally charged but also serves as a microcosm of the broader themes of the episode, highlighting the fragility of trust and the lengths people will go to protect themselves and their loved ones in desperate times.
Thematically, "Sonny Boy" delves into the idea of chosen family and the bonds that are formed in the face of adversity. The episode also explores the concept of redemption, as characters grapple with their past actions and strive to find a sense of purpose in a world that seems devoid of hope. These themes are underscored by strong performances from the cast, particularly from Colman Domingo as Strand and Alycia Debnam-Carey as Alicia, who deliver nuanced portrayals of characters struggling with their own inner demons.
While it may not offer significant plot progression, it excels in character development and thematic exploration. The episode's focus on trust and loyalty makes it a standout installment that resonates with the larger themes of the series, making it a must-watch for fans of the show.
Fear the Walking Dead: Ofelia (2022)
"Ofelia" merges past with present, allowing for a deep dive into Daniel's character while honoring his daughter's memory
While the group pursues a weapon cache, Daniel wanders off, chased by Luciana and Wes, convinced that Ofelia is still alive and is sending him a message from The Abigail. The three are captured by the Stalkers who attempt to extract the location of the weapon's cache from them, hinting at the existence of a greater danger and Luciana attempts to get Daniel to accept that Ofelia is dead. After sending half of the Stalkers on a wild goose chase, Daniel overpowers Sage, who says the Stalkers never had Ofelia, causing Daniel to kill him.
Furious, Daniel lowers Arno into a pit full of walkers before Luciana and Wes can stop him. As he dies, Arno reveals the existence of the crater full of radioactive walkers and warns them that someone is letting the walkers out. Luciana convinces the remaining Stalkers to join Morgan's group in their fight against Strand and lies to Daniel that Ofelia is in the Tower, as she knows they will need Daniel's help against Strand. Disgusted by Luciana's actions, Wes defects from the group and goes to the Tower.
Season 7, episode 11 of "Fear the Walking Dead," titled "Ofelia," delves into the themes of legacy, redemption, and the power of memory. This episode is both a tribute to the character Ofelia Salazar and a poignant exploration of her father Daniel's continuing struggle with his fading memories and sense of purpose. The episode elegantly balances emotional depth with the survivalist narrative that has characterized much of the season.
The episode kicks off with Daniel discovering an old videotape labeled "Ofelia," leading to a series of flashbacks that intertwine with the present-day events. These flashbacks are carefully used to weave Ofelia's past actions and ideals into the current storyline, highlighting how her legacy continues to impact her father and those around him. The narrative focuses on Daniel's journey with a new group of survivors who are inadvertently connected to Ofelia's past, adding layers of complexity to the character interactions and plot development.
One of the most compelling scenes is a confrontation between Daniel and a former adversary of Ofelia, who now finds themselves reluctantly allied in the fight against a common enemy. This encounter not only serves as a crucial plot pivot but also reinforces the episode's thematic focus on forgiveness and the cyclic nature of violence. The dialogue is rich with references to past seasons, providing long-time viewers with satisfying nods to the series' history while also presenting a standalone story of conflict and resolution.
"Ofelia" merges past with present, allowing for a deep dive into Daniel's character while honoring his daughter's memory. The episode's emotional weight is balanced with sufficient action, maintaining tension and engagement throughout. Although it momentarily sidelines the main storyline's progression, it enriches the narrative world by focusing on the personal transformations of key characters. Ultimately, "Ofelia" is a testament to the enduring impact of those we lose and the paths they leave us to follow.
Fear the Walking Dead: Mourning Cloak (2022)
You don't establish a romantic connection in one episode between a new and an established character
Outside the Tower, Charlie is captured by Ali, a young Ranger in training, and taken inside where she claims to be trying to defect. With the Tower needing an elevator part from a radioactive building, Howard offers to take Charlie in if she can to retrieve the part, while secretly ordering Ali to learn Charlie's true intentions. Charlie and Ali, both teenagers who have missed out on much in their lives, quickly to fall in love and Charlie admits she was sent by Morgan to infiltrate the Tower, but in reality she wants to run away from the conflict completely so as to finally get a chance at a regular life.
During the mission, Ali is attacked by a group of Stalkers attempting to learn why Strand is interested in the walker-filled crater, but he tricks them into getting devoured by walkers. After getting the elevator parts, Ali initially plans on leaving Charlie for dead before changing his mind and deciding to run away with her. As they leave, Charlie suddenly faints and is later diagnosed with terminal radiation sickness. After Ali's betrayal is discovered, Howard throws him off of the Tower, putting himself at odds with a furious June who begins plotting to take Strand down by any means necessary, while John Sr. Plans to earn Strand's trust in order to be his voice of reason.
For an episode centered on Charlie, a decent amount of the plot does revolve around Ali. We learn that he's been tasked with catching butterflies for Strand (Colman Domingo) - why Strand would waste vital resources sending his people out so he can keep butterflies in jars is anyone's guess - but what he really wants is to be a ranger. Ali meets Charlie on one of his butterfly runs and brings her in. Strand's shocked to see her and isn't inclined to let her stay, but she says she doesn't have any ulterior motive: She just wants to be somewhere she can actually live, and the tower seems like the best place. She also declares that she's "a few weeks" from her 13th birthday. How does she know that? Has she been keeping track of every single day that passed since the world ended?
In a perfectly obvious twist of events, Charlie and Ali end up paired together on a mission to get elevator parts for the tower. Before they leave, Howard (Omid Abtahi) pulls Ali aside and tells him that while they're gone, he needs to find out why Charlie's really there. If he can do that, he just might earn the title of ranger.
You don't establish a romantic connection in one episode between a new and an established character. You have to let these things develop over time. I was thinking this and then, when she convinces him to turn off the beacon for her - a mission that Morgan sent her on for reasons - I jotted this note down:
OH. Charlie et alia are just gaming the system. It's a con job. Set up against a totally new character. That's almost as bad. Or...wait it's not a con - Charlie actually is this sick? She looks fine but she's suddenly gravely ill and it wasn't a con she set up with June?
I hate all these characters with a burning passion. Why are we concerned in the slightest with the fate of Charlie - aka the Nick killer? Why is Strand suddenly this super efficient yet deeply hated villain who tosses people off the roof of his tower? Why are people suddenly calling him Victor all the time?
Fear the Walking Dead: Follow Me (2022)
The interplay of trust and suspicion is depicted with intensity, driving the episode's emotional core and highlighting the desperation and vulnerability of each character
An unconscious Alicia is found by Paul, a deaf musician who takes cares of her. Alicia admits that after leaving the bunker, her search for PADRE led to a number of her people dying, leaving her filled with guilt and Arno, the leader of the Stalkers, out for revenge. Alicia is driven by a repeated dream of the Senator telling her to follow him to PADRE, but Paul suggests that the Senator is simply a manifestation of her subconscious telling her to follow her own path. While retrieving a stereo for Paul, Alicia is captured by Arno, who attempts to feed her to some of the reanimated people that she'd lost.
She is rescued by Paul and the two set a trap for Arno, drawing him to Paul's house and using the stereo to draw a herd to deal with the Stalkers. Most of Arno's forces are killed, while Paul sacrifices himself so Alicia can escape. After returning to the Pennsylvania, Alicia decides to use the bunker's transmitter to gather an army to fight Strand using the promise of the safety the Tower will provide. Meanwhile, Arno and Sage find a blast crater filled with thousands of radioactive walkers that threaten everyone if they escape, renewing Arno's determination to take the Tower for the Stalkers.
Season 7, episode 9 of "Fear the Walking Dead," titled "Follow Me," navigates through a tension-filled narrative that shifts the focus back to the group's dynamics while exploring themes of leadership and trust. The episode cleverly juxtaposes the pursuit of survival against the backdrop of internal conflicts, providing a deeper look into the psychological toll that the apocalypse takes on the characters.
"Follow Me" begins with the group divided and uncertain following recent events. As they struggle to navigate their path forward, the episode introduces a new character who claims to know a safe route to a sanctuary. This mysterious figure's guidance splits the group further, pitting members against each other as they debate the wisdom of following this unknown leader. The interplay of trust and suspicion is depicted with intensity, driving the episode's emotional core and highlighting the desperation and vulnerability of each character.
One of the episode's most striking scenes involves a suspenseful encounter with walkers in a fog-laden forest, a visual metaphor for the uncertainty that the characters face. The cinematography is particularly notable here, using limited visibility to enhance the sense of claustrophobia and fear. This sequence not only elevates the episode's thrill factor but also serves as a critical moment of character development, especially for the newer members of the cast, whose true motives and survival instincts are put to the test.
In conclusion, "Follow Me" is a gripping installment of "Fear the Walking Dead" that succeeds in deepening the narrative's complexity. While the episode excellently captures the series' trademark suspense and moral dilemmas, it also reflects some of the season's recurring issues, such as pacing and some predictable plot developments. However, the episode's focus on character dynamics and its effective use of suspenseful and thematic elements largely compensate for these flaws. As the season progresses, one hopes to see these character arcs evolve in ways that continue to challenge and engage the audience.
Fear the Walking Dead: Padre (2021)
The episode, largely centered on Alicia's quest to find the mythical place known as Padre, finally brings this subplot into the main narrative after much anticipation
In flashbacks, after being locked in the bunker by Teddy, Alicia reluctantly becomes the leader of the doomsday cult and meets Will, who helps her look for a way out. Alicia learns of PADRE, a secret government location that supposedly has the resources to rebuild the world, but which only the undead Senator Elias Vazquez knows the location of. While trying to escape from the bunker, Alicia is bitten by the Senator and is forced to amputates her arm; Will departs shortly thereafter, feeling that he is causing Alicia more harm than good by staying with her. In the present, fleeing from the Stalkers' attack on her people, Alicia enlists a reluctant Morgan's help to follow the Senator to PADRE.
Covering themselves in walker guts for protection, the two wander around with the Senator, evading Strand's Rangers. Alicia later reveals to Morgan that she didn't amputate her arm in time and believes it is only a matter of time before she dies and reanimates. The search ends when the Senator follows Strand's beacon to the Tower and he becomes lost in the walker moat. Alicia considers accepting Strand's offer to take her people in, only to find and put down the reanimated Will nearby. After learning that Strand murdered Will, the furious Alicia declares war on the Tower.
"Fear the Walking Dead" season 7, episode 8, titled "Padre," aims to uncover some of the season's overarching mysteries but falls into a common trap of high expectations with little payoff. The episode, largely centered on Alicia's quest to find the mythical place known as Padre, finally brings this subplot into the main narrative after much anticipation. However, the execution leaves much to be desired, offering convoluted reveals and underwhelming twists.
The episode begins with Alicia, who has become increasingly desperate, leading her group through hazardous terrains, combating not just walkers but also the internal strife within her own ranks. Her obsession with finding Padre, believed to be a safe haven, is palpable and is portrayed with a palpable intensity. However, the mythology of Padre itself begins to crumble under its own ambiguity. When Alicia and her group finally encounter signs of this mythical place, the revelation feels anticlimactic-a mere shell of the utopia it was hinted to be, now just another desolate remnant of a broken world.
The standout scenes involve tense interactions between Alicia and the new characters introduced in this season. These moments are where the episode shines, diving deep into character development and the psychological impact of endless survival. Unfortunately, these interactions are interspersed with action sequences that, while visually compelling, do little to advance the plot in any meaningful way. The episode's direction, although competent, struggles to maintain a consistent pace, often wavering between rushed confrontations and prolonged, somewhat stagnant dialogues.
In conclusion, "Padre" serves as a mid-season finale that tries to tie up loose ends but ends up raising more questions than it answers. While it successfully builds the mythos around its central character, Alicia, it fails to deliver a satisfying resolution to the season's buildup. The episode encapsulates the show's current state: searching for a revival in narrative creativity but stumbling over its own convoluted plot lines. Moving forward, one hopes for a more coherent storyline that balances character depth with the high-stakes survival drama that originally defined "Fear the Walking Dead."
Fear the Walking Dead: The Portrait (2021)
The whole issue is that, besides elevating Strand to the position of villain, we've had seven episodes so far that haven't advanced the macro plot at all
While Strand has an artist paint a portrait of him, he answers calls from a callbox outside, deciding which people he wants in his community. Morgan pleads to let June treat Mo, and Strand agrees in exchange for a favor. The Stalkers threaten to release walkers stuffed with pieces of the warhead if they aren't granted asylum. Morgan offers his assistance when Strand suddenly collapses after being poisoned. Strand tells Morgan that he wants to find Alicia, but Morgan tells him he needs to make the Tower a place that Alicia would want to live in. They agree to work together to find her, until Strand discovers Morgan was the one who poisoned him.
Grace informs Strand that some of the walkers covered with material from the warhead have gotten loose and are outside the Tower, and bargains for Morgan's life by agreeing to join him. Morgan later comes across another group, revealed to be Dwight, Sherry and some members of the Stalkers. They take Morgan to their camp to meet their leader, revealed to be Alicia. When walkers arrive, Morgan notices they are covered with radioactive material and tells them not to shoot. They ignore him and shoot, releasing the radioactive gas.
The biggest problem isn't in The Portrait, although the episode certainly is a symptom of it. The whole issue is that, besides elevating Strand to the position of villain, we've had seven episodes so far that haven't advanced the macro plot at all. In fact, I lie. It's perfectly understandable that they haven't advanced the macro plot because it simply doesn't exist. There's no path, no objective, nothing more than a tenuous backdrop that deals with a place called Padre that may or may not be connected to Alicia's whereabouts, who finally shows up this season (I'll confess right here: for a fraction of a second, I thought "she" was Madison - I guess I'm as crazy as Strand...). It's a lost, foggy story that the showrunners insist on revolving around Morgan Jones, who is everywhere, always has a solution for everything, and can't speak without sounding like he's reading some cheap self-help book.
With this complete lack of direction, which reflects (at least in mine) a complete lack of interest in the fate of the characters, 80% of them are no longer more than extras who, if they're lucky, appear for a few seconds in an episode, like Wendell did here. There was no way The Portrait could be more than just interesting. And just in passing, I must say, since the whole "nobody touches my baby," "send my baby down here," "now the baby is mine," and baby here and baby there made me wish Mo would become a snack for the undead in the elevator shaft... Wasn't that scene slow? And with a direction from Heather Cappiello that was so bureaucratic, she managed to drain any chance of there being even a hint of tension, a feat she repeats at the end, when Morgan tells everyone not to shoot, only for everyone to shoot the radioactive zombies that explode in a friendly cloud of irradiated isotopes that should kill everyone in the camp, but I'm sure the "wind" will come to save...
The Portrait was a leap in quality, something that - I'm the first to admit - doesn't mean much this season. It doesn't even mean that raised eyebrow showing some interest in what's to come. At most, with goodwill, it means that I didn't headbutt the couch watching the explosive zombies being catapulted and that my first thought when the credits started rolling wasn't "just one more for my well-deserved rest."
Fear the Walking Dead: Reclamation (2021)
The episode revisits Al's obsession with interviews and filming, and her reluctance to embrace her love for Isabelle and serves as a farewell to the character
After sending the others to the Pennsylvania, Althea returns to her SWAT van alone, putting down a reanimated Riley and intending on resuming her solo journey of getting people's stories. Having deduced Althea's plan, Morgan arrives at the SWAT van just in time to witness the arrival of a CRM reclamation team searching for Althea's ex-girlfriend Isabelle who had gone AWOL after the blast. Despite Althea's attempts to warn Morgan and Grace off, they insist upon helping her while Morgan presses her to go after Isabelle.
Althea tricks Morgan and Grace into using the CRM helicopter's fuel to refuel the SWAT van while she lures the CRM to Fort San Vicente, where she sets up an old cannon to kill them. The CRM captures Morgan and Grace and force Althea to admit that Isabelle is at a cabin in the Great Smoky Mountains. Morgan and Grace escape and lead the CRM to the fort, where they work together to kill them. Althea gives Morgan an interview of her own for the first time and departs in the CRM helicopter. Arriving at the cabin, Althea tells Isabelle she is ready to start a new life with her, even though it means they will constantly be on the run from the CRM. The two women embrace.
The episode - entirely - seems like an addendum to the season. Not filler, exactly, but indeed an addendum, something haphazardly tacked onto the macro progression to wrap up Althea's arc, revisiting her obsession with interviews and filming, and her reluctance to embrace her love for Isabelle. As if that wasn't enough, we also get, as a bonus, good old Morgan as her therapist, which, of course, only makes everything more drawn-out, filled with pseudo-intellectual blah blah, devoid of any meaning beyond the blatantly obvious. It's almost humorous how we learn, in a rush, that Al took the forgotten side characters to Morgan's submarine and decided to return to her pilgrimage through the devastated lands in search of radioactive people to interview, and it's unbelievably annoying how she refuses to tell her colleagues about the CRM, even with the organization chasing them like a bloodhound.
Speaking of funny things, let's agree that the CRM duo is unbelievably incompetent, far beyond the worst scoring Stormtrooper at the Empire's academy in Star Wars. Watching Al and Morgan running from them as they spray bullets everywhere, hitting neither their targets nor grazing them (and, later, incongruously, they hit some zombies from much further away) and then getting easily beaten up by Morgan, despite having their gun barrels pointed at him and Grace, are moments only less memorable than when the dummies are blown up by the cannon Al had prepared in one of those sequences so meticulously set up and so ridiculously tensioned that I almost felt sorry for them.
But the worst part was the talk, with Morgan on one side telling her to run to Isabelle, and she, stubbornly, on the other, refusing to give up her camera, as if her obsession and her passion were mutually exclusive. I don't know how many times this scenario happened over the forty-some minutes of the episode, but what I do know is that, around the 28th time (or was it the 29th?), I was ready to throw my poor television out the window in despair. The script by Alex Delyle and Calaya Michelle Stallworth pays the greatest homage possible to Althea with this thematic repetition, since the character is basically characterized by saying the same thing always, like a scratched record (of bad music).
In the end, we are not even sure if I'm disappointed with this lackluster farewell to Althea from the series. After all, except for her mentioned solo episode with Isabelle, I can't really remember anything about the character that would truly be missed on the show. If I think about it too much, it's even risky to conclude that, perhaps, the series would have been better off without her, but let me wipe the venom dripping here before it spills over the keyboard.
Now that the season's addendum is over, I hope the normal story - which wasn't that great to begin with, just to use a mild euphemism - returns full force in the two episodes remaining until we reach the traditional mid-season hiatus (which I am immensely thankful for). Althea is late in leaving and I doubt she will be missed. Speaking of not being missed, she might as well have taken the opportunity to take Morgan (and Grace and Mo, of course) along with her and Isabelle, right.
Fear the Walking Dead: Till Death (2021)
The focus shifts to Dwight and Sherry, whose relationship undergoes severe tests against the backdrop of the apocalyptic challenges they face together
Dwight and Sherry have become a team of "ethical outlaws" known as the Dark Horses, protecting those in need while searching for PADRE. Their friends, the Larson family, are growing impatient due to dwindling supplies. Dwight and Sherry are captured by Strand's Rangers and brought to the Tower, where Strand attempts enlist their help to find Mickey, a woman who escaped the Tower in search of her missing husband Cliff. The two refuse the offer, comparing Strand and the Tower to Negan and the Sanctuary. Nevertheless, the two track down Mickey and offer her their help, only to discover that the Larsons have been murdered, causing Dwight to decide to take Strand's offer while Sherry heads off with Mickey to find Cliff.
Encountering Eli, a criminal who he and Sherry had previously fought, Dwight learns that Strand hired Eli to murder the Larsons and, enraged by his actions, Dwight leaves Eli to be devoured by a herd. Sherry and Mickey find Mickey's gym surrounded by walkers and, fighting through the herd, the two find a reanimated Cliff inside and put him down. Afterwards, Mickey joins the Dark Horses who respond to a distress call, only to be ambushed by the Stalkers. Aware of the Dark Horses' reputation, the Stalkers request their help in finding PADRE.
The seventh season of "Fear the Walking Dead" continues to intensify with episode 5, titled "Till Death." This episode explores themes of sacrifice, desperation, and complex human emotions, woven into the survival narrative that has become the series' hallmark. The focus shifts to Dwight and Sherry, whose relationship undergoes severe tests against the backdrop of the apocalyptic challenges they face together.
The episode opens with Dwight and Sherry in a precarious situation as they are captured by a group of survivors known for their ruthless tactics. This initial capture sets the tone for the episode, highlighting the constant danger the characters face and the volatile alliances formed in the post-apocalyptic world. As they plan their escape, the couple's interactions provide a deep dive into their psychological states, revealing unresolved tensions and their undying commitment to each other.
A standout scene involves a daring and violent breakout, choreographed with the series' characteristic grit and tension. The action sequences are interspersed with intimate moments between Dwight and Sherry, juxtaposing their fight for survival with their struggle to maintain their relationship's integrity. This duality enriches the narrative, offering a layered look at how relationships can both complicate and facilitate survival in such dire circumstances.
Critically, "Till Death" is a powerful episode that leverages its character-focused storyline to delve into emotional depths rarely explored in action-centric series. The performances by Austin Amelio (Dwight) and Christine Evangelista (Sherry) are particularly commendable, capturing the complex emotions of characters pushed to their limits. The episode successfully balances intense action with compelling drama, making it a critical highlight of the season. It not only advances the plot but also enriches our understanding of its central characters, setting the stage for further developments in their arc and the overarching narrative of the series.
Fear the Walking Dead: Breathe with Me (2021)
"Breathe With Me," offers an intense exploration of survival, loyalty, and betrayal amidst the backdrop of the ongoing apocalypse
Living in an old fort with the rest of Morgan's group following their rescue by Isabelle, Sarah begins an obsessive search for Wendell, who has been out of contact since the nuclear blast. Sarah encounters Josiah, who offers to help her find Wendell if she will help him get revenge on Morgan for the death of his brother Emile. Sarah reluctantly takes the deal and she, Josiah and his dog Rufus find Wendell's broken wheelchair in the possession of Sage, one of the Stalkers who has been collecting walkers and dispersing them around the area. In a moment of grief, Sarah causes Josiah's SUV to run off the road and crash near a cracked nuclear warhead which failed to detonate. As walkers surround them, Josiah encourages Sarah not to give up on Wendell and shares some of his past with her, bonding with Sarah.
With the help of Morgan, Sarah and Josiah eliminate the herd, but Josiah attempts to kill Morgan and get his revenge. The struggle ends when Rufus is bitten by Emile's disembodied head before Sarah puts Emile's head down. Josiah tearfully euthanizes Rufus and makes amends with Morgan. Morgan and Josiah lead Sarah to the Tower where Strand reveals that he has Wendell, but he refuses to let Sarah in. After making Strand promise not to tell Wendell she was there, Sarah and Morgan part ways with Josiah and Morgan promises Sarah that they will get all of their friends back. At the same time, Sage recovers the warhead and brings it to the rest of the Stalkers.
In the seventh season of "Fear the Walking Dead," episode 4, titled "Breathe With Me," offers an intense exploration of survival, loyalty, and betrayal amidst the backdrop of the ongoing apocalypse. This episode primarily focuses on Sarah's journey to find her missing brother, Wendell, which adds a deeply personal quest to the overarching narrative of survival against the undead and human threats.
The episode begins with Sarah receiving a garbled message that she believes could be from Wendell, prompting her to embark on a dangerous rescue mission. Accompanied by a reluctant Luciana and a wary Daniel, they traverse toxic storm-ravaged landscapes, which the episode captures with visceral visual effects and moody, oppressive cinematography. This setting not only heightens the physical peril faced by the characters but also reflects the internal turmoil they experience.
One of the most powerful scenes unfolds when Sarah confronts a group of survivors who have taken Wendell hostage. The tense negotiation and ensuing conflict demonstrate not only the brutality of the world they inhabit but also the moral complexities the characters face. Each decision comes with weighty consequences, and Sarah's resolve is tested to its limits. The episode excellently uses this confrontation to delve into themes of familial bonds and the lengths one will go to preserve them in a world where every choice could mean life or death.
Critically, "Breathe With Me" excels in its character development and its ability to maintain suspense and emotional intensity. Sarah's character is given substantial depth and complexity as she navigates her fears and hopes for her brother's safety. The episode's pacing is meticulous, effectively building tension and providing just enough narrative progression to keep the viewers engaged without revealing too much.
Fear the Walking Dead: Cindy Hawkins (2021)
The episode focus on character development, particularly for John Dorie Sr., who emerges as a more fleshed-out character grappling with guilt and seeking closure
Over the course of several months, John Sr. And June establish a routine while waiting out the year that June has determined is the time that they must wait before it is safe to go outside. However, the bunker becomes increasingly unstable over time with a wall collapse smashing their supply of liquor and revealing a secret room where Teddy had killed and embalmed his victims in the 1970s. John goes into alcoholic withdrawal and experiences hallucinations as a result of Teddy's last victim, Cindy Hawkins, whose body John had never been able to find. John's hallucinations and guilt cause him to search for clues to the location of her body with disregard to anything else.
He emerges from the bunker due to Cindy calling to him and, after putting down a reanimated Dakota, finds the Stalkers watching him. The Stalkers demand that John and June surrender, while John realizes June has been lying the whole time about how long they must wait, afraid of facing the outside world without her husband. Briefly abandoning June to search for Cindy's body, John snaps out of it in time to kill the Stalkers and save June. The two subsequently discover Cindy's body in the bunker by accident, bringing John peace. The bunker collapses, but the two are rescued by Strand's Rangers and taken to the Tower. When Morgan arrives at the bunker, Strand contacts him on a radio. Morgan threatens to kill his former friend if Strand hurts anyone he cares about, but Strand is unmoved by his threats.
Season 7, Episode 3 of "Fear the Walking Dead," titled "Cindy Hawkins," dives deep into the backstory of June and John Dorie Sr. As they find refuge in an old, abandoned bunker that once belonged to serial killer Teddy. This episode adeptly intertwines the current apocalyptic struggles with the psychological ghosts of the past, setting a chilling tone from the outset.
The central plot revolves around June and John Dorie Sr. As they sift through the remnants of Teddy's bunker, uncovering artifacts that reveal more about Teddy's gruesome past, and importantly, the mysterious Cindy Hawkins. The bunker serves as a claustrophobic backdrop, enhancing the episode's tense and eerie atmosphere. As they delve deeper, they encounter physical and emotional traps left behind, which Teddy had set for his victims, metaphorically trapping June and John as well.
A particularly striking scene involves the discovery of Cindy Hawkins' belongings, leading to a cathartic moment for John Dorie Sr., who had been haunted by his failure to capture Teddy sooner in his career. This moment is both a narrative and emotional climax of the episode, as it confronts the theme of unresolved past trauma and the search for redemption. The episode does a commendable job portraying how past and present horrors can intertwine, mirroring the outside world's chaos within the confines of the bunker.
Cindy Hawkins" stands out in its season for its psychological depth and character development, particularly for John Dorie Sr., who emerges as a more fleshed-out character grappling with guilt and seeking closure. The cinematography and tight scripting keep viewers engaged, while the episode's pace maintains suspense and dread effectively. Overall, this episode is a strong entry in the series, offering a mix of psychological horror with poignant drama, and emphasizes that sometimes the ghosts of the past are as terrifying as the zombies outside.
Fear the Walking Dead: Six Hours (2021)
This atmospheric, apocalyptic aesthetic isn't enough to rescue a rather convoluted episode that's rife with contrived perils
Morgan, Grace and baby Mo have been living in the USS Pennsylvania since the nuclear blast, but are running low on supplies while Grace remains depressed and distant from Mo. With no other choice, Morgan convinces Grace to join him in a modified car to look for supplies, though they only have a six-hour window in which they can be safe. While passing through a town, Morgan and Grace hit a roadblock and encounter two terminally ill survivors, Fred and Bea, while a herd and a mysterious third survivor attacks. Morgan deals with the herd and drives the man away, but Grace is forced to kill Fred when he tries to smother Mo; the incident causes Grace to finally bond with Mo.
After Morgan puts down her reanimated daughter Emma, Bea chooses to stay behind and die with her family, though she tells them about PADRE and where she thinks it might be. Morgan and Grace return to the sub where they encounter Howard and Strand's Rangers who are raiding it for supplies. Grace refuses an offer from Howard to join the Tower. Morgan and Grace find enough powdered milk to last them for months hidden in the sub's floor. Meanwhile, the mysterious attacker is revealed to be Josiah LaRoux, the twin brother of Emile LaRoux, the bounty hunter Morgan had killed months before. In possession of his brother's reanimated head, Josiah promises that he will exact vengeance upon Morgan for Emile's death.
After six seasons, our heroes had become quite proficient zombie killers, robbing the undead of their bite, if you will. By layering in the more immediate (and invisible) threat of radiation poisoning, suddenly just venturing outside requires a whole other level of preparation and fortitude. Plus the muted, mustardy palette calls to mind the blighted future of Denis Villeneuve's Blade Runner 2049. (Interestingly enough, Lennie James has a small role in that movie.)
Still, this atmospheric, apocalyptic aesthetic isn't enough to rescue a rather convoluted episode that's rife with contrived perils. It's no surprise that their car would break down, pitting Morgan's ability to find a replacement part against that relentless six-hour countdown.
One saving grace of "Six Hours" is that we learn a little bit about Padre. We may not know exactly what it is, but we now know where it is - just southeast of Victoria, Texas. But rather than head toward the unknown, Morgan and Grace opt to return to the familiar confines of the submarine.
Is it worth mentioning that Grace is able to let Athena go and finally embrace Mo as her own? Maybe. But this, too, feels a bit contrived - and very rushed - especially when you consider Grace was ready to pack it all in mere hours before. Would she experience a change of heart so quickly if the narrative didn't require it of her in a moment of extreme duress?
Is it also worth noting that the trio is only saved by little Mo herself, whose newfound ability to crawl reveals the treasure hidden beneath their feet? To me, this is just one more narrative contrivance that doesn't do the episode any favors.
As for that big reveal at the end - that Ginny's bounty hunter Emile had a twin brother? That twist fell flat for me, especially since Demetrius Grosse's name appeared in the opening credits. Grosse's Emile wasn't around last season to make enough of an impression. (Seriously, his dog Rufus got more screen time than he did.)
Fear the Walking Dead: The Beacon (2021)
"The Beacon" explores the idea of false promises and the lengths people will go to in search of safety and belonging
After the nuclear blast in Texas, Will, a young survivor, navigates the devastated lands while evading a mysterious group called the Stalkers, who strip the dead of their clothes. Will is eventually captured by Victor Strand's Rangers and taken to the Tower, a settlement that Strand established in the office building where he survived the nuclear blasts. Strand lives a luxurious lifestyle and only takes in survivors he feels will be of use to him. Threatened with being kicked out, Will reveals that he has the medallion that Strand had given to Alicia and agrees to lead Strand to her.
Will reveals he was part of a group that had been slaughtered by Teddy when the doomsday cult took over the bunker under the hotel, and fell in love with Alicia, who exiled him for refusing to do something for her. The pair encounter and put down a number of reanimated survivors from the bunker, concerning them as to Alicia's fate. They find the bunker abandoned and a note for Will reading "PADRE" which Will calls the dream of something better, but he doesn't know what or where it is. Deciding he needs to cut himself off from his loved ones in order to lead the Tower effectively, Strand throws Will off the Tower to his death, believing that Alicia will never forgive him for it, and uses a lighthouse beacon to draw a massive horde to the Tower to act as a moat against his enemies.
"Fear the Walking Dead" Season 7 opens with Episode 1, "The Beacon," which marks a significant shift in the series' narrative direction. The episode follows the aftermath of the missile attack on Tank Town, with survivors scattered and seeking refuge. One of the key focuses is on Alicia, who discovers a mysterious settlement called The Beacon, which promises safety and community. However, as Alicia delves deeper, she realizes that The Beacon is not what it seems, leading to a confrontation with its leader, Teddy.
The episode's standout scenes include Alicia's exploration of The Beacon, which initially presents itself as a beacon of hope but gradually reveals darker undertones. The tension builds as Alicia uncovers the truth, culminating in a dramatic confrontation with Teddy that sets the stage for future conflicts.
Thematically, "The Beacon" explores the idea of false promises and the lengths people will go to in search of safety and belonging. It also delves into the concept of leadership and the dangers of blind faith. The episode challenges the characters' beliefs and forces them to confront uncomfortable truths about themselves and the world they now inhabit.
In conclusion, "The Beacon" is a strong start to the seventh season of "Fear the Walking Dead," setting up intriguing new storylines and deepening the characters' development. With its compelling narrative and powerful themes, the episode lays a solid foundation for the season ahead.
Fear the Walking Dead: The Beginning (2021)
"The Beginning" is a strong conclusion to "Fear the Walking Dead" Season 6, delivering a mix of action, emotion, and character development
Searching for shelter, Dwight and Sherry find the home of a family terrorized by two cultist; Dwight and Sherry kill the men and join the family in their storm shelter, deciding not to let the bad guys win anymore at any cost. Rachel is badly injured while changing a tire and, unable to reach safety in time, ties herself to Morgan's dog Rufus and commits suicide so that Rufus can lead her as a walker and baby Morgan to other people. On the sub, Grace and Morgan admit their love for each other and prepare to commit suicide rather than live in the devastated world that will be left when Rachel arrives with her baby; Morgan puts their friend down and the two take custody of the baby, hiding under a nearby vehicle from a nuclear shockwave. Teddy and Dakota prepare to meet their end on an overlook, only to be confronted by John and June who forgive Dakota for her crimes.
John discovers that Teddy has a hidden bunker that he intends to ride out the destruction in and emerge later to finish launching the Pennsylvania's nukes. John and June disarm the two and enter the bunker while Dakota, enraged that Teddy was only using her, kills the insane cult leader before allowing herself to be incinerated in a nuclear explosion. Strand takes cover in a building where he meets Howard, a historian; after surviving one of the blasts, Strand embraces the chance for a new beginning. Daniel, Wes, Luciana, Charlie, Jacob, Sarah and Rollie capture Riley who agrees to lead them to the cult's hidden bunker. However, Daniel realizes that Rollie is actually the cult's spy and kills him before Charlie shoots Riley who is left to reanimate when he dies. Following coordinates that Daniel had received over the radio, the group is rescued by a CRM helicopter sent by Al while nuclear explosions rock the area.
"Fear the Walking Dead" Season 6, Episode 16, titled "The Beginning," serves as a fitting conclusion to the season, delivering a mix of action, emotion, and character development. The episode picks up after the dramatic events of the previous episodes, as the characters grapple with the aftermath of their actions and face new challenges in a rapidly changing world.
One of the most notable aspects of "The Beginning" is its focus on character growth. As the characters confront the consequences of their past actions, they are forced to reevaluate their choices and priorities. This leads to some powerful and emotional moments as they strive to find redemption and meaning in a world that has been irrevocably changed by the apocalypse.
The episode also features some intense and memorable action sequences, including a thrilling showdown between the survivors and their adversaries. These scenes are expertly choreographed and keep viewers on the edge of their seats, showcasing the show's ability to deliver pulse-pounding thrills.
Thematically, "The Beginning" explores the idea of new beginnings and the resilience of the human spirit. Despite facing seemingly insurmountable odds, the characters demonstrate a remarkable ability to adapt and survive, highlighting the strength of the human will.
In conclusion, "The Beginning" is a strong conclusion to "Fear the Walking Dead" Season 6, delivering a mix of action, emotion, and character development. It sets the stage for an intriguing seventh season, leaving viewers eager to see where the story goes next.
Fear the Walking Dead: USS Pennsylvania (2021)
As the characters navigate the claustrophobic confines of the submarine, tensions run high, leading to conflicts and difficult decisions
Teddy, Riley and Dakota prepare to launch the USS Pennsylvania's compliment of nuclear missiles, revealing that Riley was once the subs Weapons' Officer. Having been warned by Alicia, Morgan's group races to the Pennsylvania, finding the sub occupied by its reanimated crew while Luciana leads a smaller group to a Naval base in search of information to help them. Morgan, Strand, John, Grace, June, Dwight and Sherry fight their way through the sub, finding signs of an unknown catastrophe having befallen the crew, including one compartment with radiation levels indicating exposed radioactive material within despite the rest of the sub's radiation levels being safe.
Leaving the others behind, Morgan and Strand press on, but after getting cornered by walkers, Strand breaks Morgan's axe, stealing the head and leaves Morgan to fend off the walkers alone while he continues on. Strand is nearly killed by Dakota, but is saved at the last moment by Morgan who knocks Dakota unconscious. Using key cards recovered from the zombies, Morgan and Strand manage to enter the control room, but not before Teddy and Riley are able to launch one nuclear missile. The two reveal that the missile contains ten warheads all targeted on locations in Texas and can't be stopped. Morgan allows Teddy and Riley to leave and angrily blames Strand for their failure to stop the cult before sending him away as well.
"Fear the Walking Dead" Season 6, Episode 15, titled "USS Pennsylvania," takes viewers on a thrilling and emotional journey as the characters navigate a high-stakes mission aboard a nuclear submarine. The episode is filled with tense moments, shocking revelations, and powerful character development, making it a standout installment in the series.
The episode follows Morgan and his group as they infiltrate the USS Pennsylvania in search of the key to Teddy's doomsday plan. As they navigate the claustrophobic confines of the submarine, tensions run high, leading to conflicts and difficult decisions. The submarine setting adds a unique and intense atmosphere to the episode, heightening the sense of danger and suspense.
One of the most memorable aspects of "USS Pennsylvania" is the exploration of the characters' moral compasses. As they face difficult choices and confront the consequences of their actions, viewers are presented with a complex and nuanced portrayal of morality in the post-apocalyptic world. This theme adds depth to the episode, encouraging viewers to reflect on their own beliefs and values.
The episode also features several standout performances, particularly from Lennie James as Morgan and Colby Hollman as Wes. Their emotional performances add a layer of depth to the episode, making the characters' struggles feel all the more real and relatable. Additionally, the episode's action sequences are expertly choreographed, keeping viewers on the edge of their seats throughout.
Fear the Walking Dead: Mother (2021)
This claustrophobic Alicia's character study is the perfect palate cleanser before the histrionics of the season finale
In a flashback, Teddy escapes from prison after it falls during the beginning of the apocalypse due to an executed prisoner turning into a zombie. In the present, as the cult prepares to move to a new home, Teddy decides to take Alicia and a recently-joining Dakota to recover and move his mother's body with Alicia holding off on killing Teddy until she learns of his plans. After running into a spike strip, Alicia is reunited with Cole whom she had believed died when the stadium fell. Cole reveals that Madison's sacrifice allowed him and many of the stadium's other residents to escape, but most of them died in an ambush a week later with the remainder, including Douglas and Vivian, becoming a gang of bandits that rob and kill other survivors, leaving their victims to reanimate.
As Cole's group prepares to execute Alicia, Teddy and Dakota, their reanimated victims attack, killing Douglas, Vivian and the other survivors. Unable to talk Cole down, Alicia kills him in self-defense, enraged and devastated that Cole had squandered her mother's sacrifice for him; Teddy reveals that the true purpose of the trip was to show Alicia how useless her mother's sacrifice was in the end. Teddy finally reveals that the keys go to a submarine that had washed up in Galveston, Texas and that they will allow him to use the sub's nuclear missiles to destroy what is left of the world. Alicia manages to broadcast a warning to Strand and is taken to the cult's hidden bunker beneath an old resort hotel where Teddy locks her in and explains that he believes that Alicia is the perfect person to lead the survivors when it is safe to emerge again.
This claustrophobic little character study is the perfect palate cleanser before the histrionics of the season finale. Alycia Dabnam-Carey and John Glover are great as is Zoe Colettii as a Dakota desperate to fit in and not that concerned about with who.
But oddly it's the plot not the characters that stick with you this time. This entire episode is an experiment, conducted by Teddy in which we and Alicia are unwitting subjects. We see him pick up his "mother", see him head back to the Old Stadium and see him save Alicia from himself in the closing seconds. It's all part of the plan, and clearly the plan of a dangerously criminally insane man, but the plan nonetheless. Glover shows us this with his customary avuncular charm too but weaponizes it in a way I've not seen before here. Teddy is playing the bumbling old man, cleverly utilizing what people see and turning it into what people think. We see a doddering old man until he's ready for us not to. Then we see the architect of a nihilistic future, delighted to have a playmate. It's remarkable work from a remarkable actor and really helps establish Teddy as a terrifying antagonist in almost no time.
Glover draws the attention but Dabnam-Carey anchors the episode. Her exhausted, unflappable approach is Strand and Madison to a tee and it feels oddly reassuring to have that energy back. Make no mistake, Alicia isn't fine, but she thinks she is and Teddy looks set to disavow her of that. Whether she emerges uncharged or not remains to be seen.