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The Walking Dead Recap: “Inmates” (Season 4, Episode 10)

I’ve been alternating The Walking Dead with True Detective and House of Cards (both of which, let’s be frank, are much better). Paired with the rapidly melting eighteen inches of snow that blanketed the east coast last week, this television trio makes for a very…intense February. Of all the shows I’ve recapped, I take the fewest notes on The Walking Dead; I can best guess what’s happening next and I have a sturdy handle on what the writers are doing. No idea if this is because I’ve been paying attention for three years now, or if the teleplays are particularly transparent, or what.

Either way, this week’s “Inmates” tries for an overarching theme about hope, about the prison of the mind. Now that they’re out of the physical prison, the scattered remains of Rick’s crew have to tackle their freedom and reevaluate their respective states of mind. The episode begins with a voiceover from Beth (a character I find immensely boring): she’s reading a journal addressed to her dead mother (R.I.P). You’ve just got to have hope! she’s telling us. Daryl, her sole companion in the escape, isn’t having it. That gent has no time or space for hope. We’re watching these characters revert to their original states – and it’s not very exciting. The key to keeping your audience interested is to move your folks in new directions, not to sweep them back to the beginning again. Beth and Daryl encounter the scene of a massacre, walkers consuming the flesh of some former prison inhabitants. A baby shoe lies abandoned in the center of a pile of viscera. As almost anybody would, Beth totally loses her shit – and Daryl stares impassively. We’ve all got our coping mechanisms.

 Beth and Daryl: hardasses extraordinaire. Photo credit Gene Page/AMC.

“We can live here for the rest of our lives.” Photo credit Gene Page/AMC.

After ten minutes and the reassurance that Daryl made it out (let’s face it, he’s the show’s biggest damn hero at this point), the writers bounce us over to Tyreese, Lizzie, and Mika. Tyreese has Judith, who’s very much alive, as Reddit guessed and I said last week. Let’s just pause this for a moment to give the show (and actor Brighton Sharbino, who also is on this week’s episode of True Detective) some mad props for depicting a child sociopath. When the four of them pause to camp, Lizzie spies two baby bunnies inside a log and stabs them to death with her knife. Her face displays avid curiosity, willful determination, and nothing else.  Read more

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Director : Bill Condon.
Producer : David Hoberman, Todd Lieberman.
Release : March 15, 2017
Country : United States of America.
Production Company : Walt Disney Pictures, Mandeville Films.
Language : English.
Runtime : 123 min.
Genre : Fantasy, Romance.

‘Beauty and the Beast’ is a movie genre Fantasy, was released in March 15, 2017. Bill Condon was directed this movie and starring by Emma Watson. This movie tell story about A live-action adaptation of Disney’s version of the classic ‘Beauty and the Beast’ tale of a cursed prince and a beautiful young woman who helps him break the spell.

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The Walking Dead Recap: “Too Far Gone” (Season 4, Episode 8 )

I watched Facebook blow up with “HOLY WHOA WALKING DEAD” exclamations on Sunday night, all the while lounging around with the dude and watching Buffy the Vampire Slayer on Netflix instead. Frankly, The Walking Dead has disappointed me repeatedly, and at least I know what I’m getting into with Buffy and Riley (ugh, season four – and it was the episode where they can’t stop doing it, and it is so ridiculous). But I digress. When I sat down to watch The Walking Dead in my empty house last night, I was expecting some folks to bite the dust, some to make good decisions (I was giving too much credit), and some to pop back out of the woodwork (Carol, where are you when we need you?).

Well, some of that stuff happened. The only way I can describe the events of Sunday’s mid-season finale is “total shitshow.”

Rick Walking Dead

Bandaged hand to reflect the violence he inflicted upon Tyreese, untouched gun beneath to indicate the violence he doesn’t want to inflict upon anyone else. Too soft for this world. Photo credit Gene Page/AMC.

In the opening scenes, the Governor calmly tells his own crew of naive, kindly folk that they’ve gotta take the prison. He manipulates them by mentioning Martinez’s name (boo hiss! I liked Martinez), asserts to them that the prison people are murderers and thieves (though of course they’re “not all bad”), and tells them the prison people killed his daughter. He doesn’t, of course, mention that she was already dead at the time. As his disingenuous, infuriating speech to the trailer posse continues in voiceover, we watch him capturing Michonne and Hershel. “They’re the key,” he says, to taking the prison. Tara and Alicia are the first to say they’re down to attack the other group. Gentle Lily wants nothing to do with it, and asks if it’s really necessary to kill them, if they’re not all bad people. “Well, they’re with bad people,” says Philip/Brian/The Governor. “Am I?” Lily asks him, and suddenly we get the feeling she’s sharper than we gave her credit for. Oh yes, that is the question. When One-Eyed Bri says he loves her, she responds, “I don’t know who you are.”

Inside his trailer, Hershel and Michonne are trussed up, but not gagged. The Governor tells them his master plan, asks for their help in conquering the prison. Hershel rightfully asks how, if the Governor (who really, really doesn’t want to be called that anymore) had/has a daughter, he can kill somebody else’s kid. “Because they aren’t mine.” The Governor’s skinnier and stranger-looking than he used to be. Lanky in a slightly embellished cowboy jacket, sidling along as though his hips and legs are sore. He agrees to let Lily and Meghan stay by the river, where the walkers surely can’t get them. Surely. When he hugs Meghan goodbye, he lets her put muddy hands all over his jacket, telling her she made it better. Nothing in this world goes untarnished, he seems to be saying, and sometimes the key is getting down and dirty, sometimes the answer is to play in the metaphorical mud. Read more

The Walking Dead Recap: “Live Bait” and “Dead Weight” (Season 4, Episodes 6 and 7)

It’s been a crazy few weeks, but I’d never leave you hanging. November marks the start of the mid-season build to a final climax, and who better to catalyze it than the Governor? “Live Bait” finds him collecting a weakened family to use as such, and “Dead Weight” finds him ridding himself of, oh, you know, dead weight. And oddly enough, of the two, “Live Bait” feels unevenly paced and strangely written; I get that we’re supposed to think of the Gov as an antihero, but the writers pushed a little hard on the pity buttons. In this Sunday’s “Dead Weight,” though, we got him back in his full, psychopathic force.

Two weeks ago, The Walking Dead picked up from the end of season three, just as the Governor slaughtered his flock and drove away in the pickup. The writers give us a brief montage of the Gov’s activities since he left the Prison crew. He stares blankly into a fire as a walker stumbles through it, moaning and reaching. Martinez, ever the protector, shoots the walker, shaking his head. The Governor awakens in the morning to find he’s all alone with the embers – nobody wants him. What to do now? Obviously, he crashes through the Woodbury gates and lights the town on fire. Through Woodbury’s formerly idyllic streets shamble walker after walker, oblivious to the flame, oblivious to the Governor. As the days go by, the Governor gets weaker, slower, his hair scraggly and unkempt. He stands staring at a barn on which mourning people have scrawled messages: “We found Ken Jones,” “Brian Heriot,” messages from lonely people who want to let someone know their friends and family have died.

BURN IT DOWN. Photo courtesy Gene Page/AMC.

BURN IT DOWN. Photo courtesy Gene Page/AMC.

Just as he’s nearing the end of his proverbial rope, he looks up to see a little girl peering out a window. He climbs the building’s stairs to investigate and discovers two women, a little girl, and an old man with a respirator. He tells them the abbreviated story of Woodbury, tells them “the man in charge just lost it.” He gives them the name “Brian Heriot,” linking himself inextricably with the dead.

“When my girls were born, that’s when I finally figured out what it was to be a man,” the dying patriarch says, wheezing through his oxygen tube. Meghan, the little girl the Governor spotted in the window, doesn’t talk since “the shit hit the fan,” and her dying grandfather appeals to the Governor to go find her Backgammon (I think?) set. Maybe she’ll speak again, he thinks.

Your obligatory gore. Photo courtesy Gene Page/AMC.

Your obligatory gore. Photo courtesy Gene Page/AMC.

Upstairs, on a mission for Meghan’s game, the Governor finds bullets, a prosthetic leg, and an eyeless, limbless walker in the bathtub. Tara had been trying to kill the zombie, and nobody understood why he kept coming back. Honestly, of all the frustrating aspects of this show, this one irks me the most. What year is this? 2011? In what alternate universe have people not heard of zombies? In what world do people not have ANY prior knowledge of this mythology? At least acknowledge it, guys. COME ON. Read more

The Walking Dead Recap: “Internment” (Season 4, Episode 5)

The prison is in a state of disarray, what with Daryl, Bob, Tyreese, and Michonne missing, the walkers clambering at the weakened fences, and the flu virus raging within the walls. Nonetheless, our band of misfit toys struggles to retain its humanity. Parents try to shelter children, people strive to fortify faith, and above all they’ve all got to protect each other.

All eyes are on Rick as he glances in the rearview, then back down to his bandaged hands. Our fearless leader is a little more on track since last season, but he may have just made a pretty big mistake in banishing Carol – and he’s struggling with the violence in him, as evidenced by the yellowing dressings on his knuckles.live streaming film Zootopia online

Walking Dead Glenn

Not looking so hot. Photo credit Gene Page/AMC.

Meanwhile at the prison (I think I write that at least twice a recap nowadays), Glenn, Sasha, and Hershel are struggling to keep the dying alive. Glenn and Sasha are quite green and sweaty themselves, but there’s nobody else to help. After a sick man begins to choke on his own blood, they intubate and start breathing artificially for him; it’s only a stopgap measure. Hershel tells Glenn they’re going to keep people alive “as long as it takes. As long as we’re willing to do it.”

Lizzie is freaking me out. Her lack of expression, the likelihood that she’s feeding rats to the walkers and thus breaking down the fences, her matter-of-fact dismissal of adult requests – it all adds up to something very strange and a little frightening in a little kid. Hershel thinks the children should never have to witness the ugliness that is putting someone down, and when he and Glenn try to sneak a flu victim away, Lizzie’s curiosity is a little too avid. When Hershel tells her to read Tom Sawyer, she says, “I won’t finish it. It gets too dark.” The adults here are trying in vain to protect the children from this world – and guys, it’s just not happening. This penchant for hiding the ugly truth is what’s keeping Lizzie curious, what’s keeping her fascinated with – and not understanding – the actuality of the apocalypse, the very real danger of the undead. Read more