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The Walking Dead Recap: “Strangers” (Season 5, Episode 2)

My copy of last week’s season premiere was missing a crucial post-credits element: a masked man on the tracks follows an X carved into a tree just after Rick and crew pass; he takes off the mask to better see his surroundings, and it’s none other than Morgan. A blast form the past, looking considerably less nuts than last time we saw him. So far in season five, it appears everything’s coming full circle.

In this week’s edition, our newly reunited crew of misfits look on from a “safe” distance as the fire burns at Terminus; billowing smoke fills the sky. From the opening moments, the pacing feels a little off. The cameraman trains his focus on the Good Guys as they walk – always walking – and then slows everything down. While this could be used to indicate the repetiveness, the monotony, of their lives on the road, it’s not terribly effective. Tara’s breasts bounce in slow-mo, and the expression we’ve all come to associate with Rick, his stone-faced, hollow-eyed stare, carries our crew forward through the woods. Exciting it is not.

The opening minutes of the episode feature people talking and not talking; they’re not yet revealing the things hidden beneath the surface. Tara hasn’t told Maggie she was with the Governor at the prison, and it’s eating away at her. Rick admits he shouldn’t have banished Carol “to this,” and now they’re joining her in it. Carol gives a tiny smile and nod at his genuine apology and gratitude. She saved their lives, and her actions have redeemed her…to everyone but herself, it seems.

Tyreese, who now considers Carol an ally and confidante despite what she did to his lover, tells them he’ll talk to the crew and make sure everyone accepts her. “They don’t have to,” says Carol. But Tyreese insists they do have to accept her. Unity is important, understanding and respect even moreso, in the new world. However, he doesn’t want to tell anyone about the girls – about what happened to Lizzie and Mika. “I just need to forget it,” he sighs.

Carol repeats this assertion to Daryl as they stand watch in the night. He’s eyeing her, waiting for her to speak. “I can’t. I just need to forget,” she tells him. Daryl hears something (or feels it), and leaps to his feet to check it out. Even though his skin is crawling, he decides it’s nothing – but a silhouette passes in the darkness.

On the road the next morning, Bob and Sasha play a word game: she names off the hardships of their new lives, and Bob counters with the sunny side of it. “No privacy,” Sasha says with a sly grin, and Bob replies, “A captive audience!” and kisses her. Bob’s constant optimism is getting threadbare, though. He was only a minor part of the last season, but we know from his early behavior – from the way he risked everyone’s lives in order to chug some booze – that he’s no angel despite what he portrays to everybody else.

Jesus can't help you here, bud. Photo credit Gene Page/AMC.

Jesus can’t help you here, bud. Photo credit Gene Page/AMC.

Suddenly, screams for help pour from the woods. The crew follows them at Carl’s insistence and saves a priest, perched on a boulder surrounded by walkers. The last time we caught sight of any religious iconography was before Beth disappeared, and that’s no coincidence. The priest’s name is Gabriel, and he vomits everywhere to show his gratitude. After checking him for weapons (despite Gabriel’s protests that “the word of God is the only protection I need,” to which Daryl murmurs, “Sure didn’t look like it”) Rick asks him the three key questions:

“How many walkers have you killed?” None.
“How many humans have you killed?” None.
“Why?” “Because the Lord abhors violence.” Read more

The Walking Dead Recap: “No Sanctuary” (Season 5, Episode 1)

The Walking Dead has never really been about the dead. It’s about the living, and the myriad ways in which people adapt (or don’t) to a new world order, one that thrives on chaos and death. Even the credits in season five reflect the new world; candles dribble wax and axes drip blood, buildings crumble under nature’s influence, crows light in trees waiting for corpses to rot. There’s no nostalgia for the past here, no remaining love for order and beauty. As a wise person utters in this episode, “It’s time to return to our regularly scheduled shitstorm.”

The opening sequence of the season five opener calls to mind a haunting statement from the final episode of season four: “The more people become part of us, the stronger we get.” In a flashback, Gareth (whose name I apparently spelled incorrectly last season) and Mary, trapped inside the cargo container and flickering in dying candlelight, desperately ask themselves what they are now – who they’re becoming. As in season four, nobody really knows who they are in this post-apocalyptic mess, and as people flail, scrabble to get a grip on normalcy, things get messy.

Back in the present, our band of increasingly morally ambiguous outlaws prepares to fight its way out of the shipping container. They’re ready to go out swinging, but aren’t prepared for a smoke bomb dropped through the roof. It incapacitates them just enough to allow the cannibals to bind and carry Rick, Glenn, Bob, and Daryl to the killing trough, along with four others who don’t belong to us. As the eight men kneel, prone, in front of the metal trough, burly men in plastic raincoats first knock them unconscious, then slit their throats, gushing blood into the trough. First one, then the next, creeping ever closer to Glenn. The viscous fluid pools around the drain as our quad of men watches, helpless. Just as the butcher reels back to take a mighty swing at Glenn’s head, Gareth shows up to ask for their shot count. “I’m sorry, it was my first roundup!” the second butcher says, distracting everyone for long enough to save Glenn’s life. In the midst of chaos, it is in fact bureaucracy, red tape, a “required quota” that saves our protagonists.

This fucking guy. Photo credit Gene Page/AMC.

This fucking guy. Photo credit Gene Page/AMC.

Bob tries to talk Gareth down – he’s the nice one. Rick, on the other hand, eyes him with utter rage and contempt. Gareth is after the bag of guns they stashed in the woods, and as he holds a wickedly sharp knife a millimeter from Bob’s eye, Rick gives him the info he needs. It contains some AK-47s, an arsenal of other weapons, and a machete with a red handle. “That’s what I’m gonna use to kill you,” he tells Gareth – and you know what? I wouldn’t fuck with Rick at this point. The man is hardened and he’s not kidding.

And suddenly, the world explodes. Read more

Mad Men Recap: “The Monolith” (Season 7, Episode 4)

I’ve been gathering a few people to watch Game of Thrones and Mad Men each week, and it’s interesting the way other people can change your perspective. When I was writing for California Literary Review, I think my editor enjoyed my pieces because I chronicled the reactions of the audience as lovingly as I wrote about the film. After last night’s episode, my friend Chelsea said with a considering expression, “That was kind of like a sitcom episode,” and she’s right. In “The Monolith,” problems are presented, problems are fixed, and we’re back to the status quo. It was a filler episode, which is common at this point in the season. But despite its easily solvable character dilemmas, it was a truly weird one. It is Mad Men, after all. It’s 1969 and everyone’s staring into the void, looking for answers. For some, the answers may lie in technology. Others search for a more organic sense of belonging, while still others just want a damn couch that isn’t full of farts. Basically, we’re all a bunch of monkeys gazing at a monolith.

Gazing into the infinite. Photo credit Justina Mintz/AMC.

Staring into the infinite. Photo credit Justina Mintz/AMC.

In the opening scene of Sunday’s episode, we drop in on a scene in which Pete describes the various destinations of choice for an upcoming trip with Bonnie. She spots George Peyton, a ghost from Campbell’s past who worked with Trudy’s father Tom at Vicks. Remember the Vicks drama? If I recall correctly, Pete’s shameless philandering lost SCDP that account. (Don’t shit where you eat, Pete.) Pete explains to a curious Peyton that he and Trudy are getting a divorce, and that Bonnie is his real estate agent (she’s none too pleased with this informal introduction). Peyton reports that Tom Vogel, Pete’s father-in-law, had a heart attack. “Who knew he had a heart?” George chuckles. Further, Peyton’s now working for Burger Chef. You can practically see the lightbulb ding into existence over Pete’s head; the guy knows how to use his connections. Meanwhile, the two men circle around their respective lady friends, both wearing ridiculous(ly awesome) ’70s dresses with feathers and fringe.

"This agency has entered the future!" Photo credit Justina Mintz/AMC.

“This agency has entered the future!” Photo credit Justina Mintz/AMC.

When Don comes into the office for his first official day back, he’s looking every bit the old Don Draper. His eyes are alert, his old but neat suit impeccably pressed; his hat rests in his hands. He disembarks from the elevator to discover the office has been evacuated, and rapidly. A phone dangles eerily from a secretary’s desk; he hangs it back up. On the second floor, he discovers the entire office in an impromptu meeting to announce a construction project: they’re putting in a computer. Cutler intones smugly, “This agency has entered the future.”

Unfortunately, in order to enter the future, they have to take out the Creative department lounge. Peggy mentions under her breath that Lou has no idea what he’s doing, and Lou says pragmatically that he’ll use that computer more than the lounge. Ginsberg gets a moment to shine; he feels (quite rightly) displaced. “Harry Crane took a huge dump and we’re cleaning it up,” he cries. With a maniacal glint, he asks Don to help him move the massive orange couch into the office he shares with Stan because “the other one’s full of farts!” Ginsberg climbs onto a soapbox and bellows a battle cry: “They’re trying to erase us, but they can’t erase this couch!” It’s all so very dramatic and very Michael Ginsberg. Read more

The Walking Dead Recap: “A” (Season 4, Episode 16)

First things first: did the writers really think a corny, Western-style one-liner like that was going to satisfy us? Rick Grimes is no Walter White, and Andrew Lincoln and the showrunners are frankly not capable of making something like “They’re screwing with the wrong people” into the stuff of legend. It is no “Tread lightly,” that’s for sure. The finale as a whole was clumsy and unsatisfying. Everyone in the episode was asking “Who am I? Who are you? Who are we?” But the age-old existential dilemma doesn’t power the action; it hinders it. And as they’re all wondering who they are, they don’t stop to think about whether they’re walking straight into a trap.

Walking Dead Rick

Monsters all. Photo credit Gene Page/AMC.

“A” bounces us from past (at the prison) to present (on the road), as the writers are wont to do these days. This episode’s jumps from past to present and back are effective; they reinforce the point that nothing gold can stay. In the opening sequence, we flash back to the halcyon days trapped between the chain link fences of the prison. Hershel’s still alive and Maggie’s smiling as they return from a run. Everyone’s content, pleasantly calm as the prison crew pokes the walkers through the chainlink with crowbars. A jarring cut to the present focuses on Rick’s bloody hands and face; he sits with his back against a truck, staring into the space beyond the camera. The last time we saw him like this, it was after he beat the hell out of Tyreese. He crouches in silence, and the camera lingers long enough on his face for us to wonder where Michonne and Carl could be.

Post-credits, we return to earlier that same day. On the tracks, Carl wonders aloud if they’re going to be able to tell the folks at Terminus who they are, like, really. Rick understands exactly what he’s asking, but he can’t answer that. How do you say who you are when this is who you are? None of them feel like they’re good people, and how could they? Read more

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Kong: Skull Island (2017) HD

Director : Jordan Vogt-Roberts.
Producer : Thomas Tull, Jon Jashni, Mary Parent, Alex Garcia.
Release : March 8, 2017
Country : United States of America.
Production Company : Warner Bros., Legendary Entertainment.
Language : English.
Runtime : 118 min.
Genre : Science Fiction, Action, Adventure, Fantasy.

Movie ‘Kong: Skull Island’ was released in March 8, 2017 in genre Science Fiction. Jordan Vogt-Roberts was directed this movie and starring by Tom Hiddleston. This movie tell story about Explore the mysterious and dangerous home of the king of the apes as a team of explorers ventures deep inside the treacherous, primordial island.

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