Review Category: Television

“This is not the way to end this,” Strand yells at Madison at the episode’s end as she once again storms off on a solo vendetta, leaving everyone else watching her go. With just three instalments of Fear left, it’s hard not to read Strand’s comments as a meta-critique about the series’ own endgame.

This story builds the growing sense of foreboding about just how bad the upcoming two-part finale might be. And, although it’s up against some stiff competition, Keeping Her Alive may just edge it as the worst-ever episode of Fear. It’s a crashing, infuriating failure on every level.

June, Dwight, Sherry and Dove arrive back at PADRE to find that the German émigrés have settled in, and Strand has, as instructed by Madison, assumed command. Learning that Strand has kidnapped Troy’s young daughter Tracy as leverage, a row breaks out over what to do next. Eventually, June and her colleagues prevail, and it’s agreed to hand over both Tracy and Strand in the hope of placating Troy and protecting PADRE from attack. After he engineers an escape from their riverboat transport, Strand and Tracy stumble across Madison, who’s dealing with her rage by battering walkers she lures in with her boom-box.

When Tracy promises she can take Madison to the living corpse of her daughter Alicia, the three of them set off, hoping to evade detection. But other players are also active in the field, including Luciana’s and Daniel’s tanker crews, June’s and Dwight’s posse (now on the hunt for Strand), Troy’s raiders, and a mysterious trio of young women travelling in an infamous armoured car. All of these different roving groups connect and collide as the events of Keeping Her Alive unfold and the fight to settle the future of PADRE takes shape.

But it’s not the scattergun, random plot points in what’s frankly a risible script by Nazrin Choudhury and Calaya Michelle Stallworth that’s the key problem. It’s the usual suspects in too many later-period Fear stories – inexplicable about-turns by characters whose natures and motivations are rewritten on a whim. But here, in episode ten of twelve, those all-too-familiar weaknesses are amplified by showrunners seemingly unconcerned by coherence or credibility and convinced that viewers will recall nothing of the show’s history. As a result, Keeping Her Alive is 50 minutes of really bad television.

Things get off to an implausible start when the PADRE returnees decide to sacrifice Strand on the ridiculous assumption that Troy will be so grateful as to give up on his plan to take their home from them. That makes about as much sense as the way that Strand’s and Tracy’s escape is staged or their fortuitously timed encounter with Madison, the way they ensnare Daniel and Luciana in their hunt, or even the way that Madison’s quest to find Alicia’s cadaver unravels (as allies fall out, split up and reunite – only to start pointing guns at each other again).

No one seems particularly upset that Strand’s and Madison’s reckless decisions lead directly to the slaughter of most of Luciana’s community or that an unhinged Madison comes agonisingly close to being a child killer. All this and more happens while PADRE is left unprotected by its leader (Madison), its stand-in boss (Strand) and its indispensable military commander (Dwight). PADRE’s kids must feel very reassured about their security.

Madison’s obsessive behaviour means it’s hard to maintain empathy over her quest for answers about her daughter’s fate. Tracy’s attempt to trick Madison as to Alicia’s whereabouts generates little tension and serves no real purpose. This surely had to be the last dead-end in her search. This plotline (if not necessarily Alicia) must finally to be laid to rest next week.

In a throwaway line at the end of the battle at her compound, Luciana reveals that Troy’s men didn’t seem to care if they lived or died. But Troy isn’t a messiah on a mission, he’s just a thug with grievances. Are the writers really trying to inject a whole new backstory about a Troy ‘cult’ into the penultimate episode? The arrival of the trio of Alicia acolytes is an equally unearned development – and pointless, as Madison ignores them and steals their truck.

The showrunners may have saved their budget for the finale, but this episode feels particularly cost-conscious. Troy’s ice walker army (don’t ask) looks woeful, while the most significant firefight occurs unseen off-screen. It is just possible that, from this shambolic low point, the current custodians of Fear can launch a finale able to do justice to the themes and aspirations with which the show’s original creators began. But on the evidence here, the odds are against it.

New episodes of FEAR THE WALKING DEAD – SEASON 8 premiere on Mondays on AMC in the UK.

Read our previous reviews of FEAR THE WALKING DEAD below:

Season 8, Episode 1, REMEMBER WHAT THEY TOOK FROM YOU
Season 8, Episode 2, BLUE JAY
Season 8, Episode 3, ODESSA
Season 8, Episode 4, KING COUNTY
Season 8, Episode 5, MORE TIME THAN YOU KNOW
Season 8, Episode 6, ALL I SEE IS RED
Season 8, Episode 7, ANTON
Season 8, Episode 8, IRON TIGER
Season 8, Episode 9, SANCTUARY

With just four stories left to play with, it might seem perverse to slot in a bottle episode at this point in Fear’s endgame. Particularly an episode that focuses on the existential angst of Dwight and Sherry, both still locked in grief following the death of their son Finch. But while Sanctuary does little to advance the final reckoning between Madison and Troy (neither of whom appear here), and is marred by some hamfisted melodrama in the closing act, it does at least include the novelty of a return to the now-abandoned headquarters of Negan and the Saviors.

Dwight is wandering, bereft and lost when he is interrupted by the arrival of Jay, a diabetic man desperate for new supplies of insulin. Raiders who killed his community’s chemist have stolen his medication. Convinced he needs to make amends for his past failings, Dwight agrees to retrieve the insulin even after he discovers the group is holed up in the dilapidated remnants of Sanctuary.

Forced to kill one of the gang by throwing him into the furnace, a wounded Dwight escapes and is found by Sherry, June and the young Dove. When Dove is shot by a raider patrol, her only chance of survival is surgery – which means June and the others must reach Sanctuary before the hunters return and hope they can find the equipment they need amongst the raiders’ haul to save Dove.

The script by David Johnson and Justin Boyd justifies Sherry’s and June’s hunt for the missing Dwight on the grounds of his indispensability. He is, June suggests, an asset that PADRE cannot not survive without, as he’s the frontline commander that all of the community’s stolen children trust. While there’s not been much evidence so far of Dwight’s ability to inspire or rally other people, he does at least share a characteristic common to other Fear leaders, which might make him a good candidate: the ability to disappear, abandoning all responsibilities, when suffering personal distress.

In other words, it’s not really credible that the fate of PADRE pivots on Dwight’s return. However, what might convince Dwight that he could make a difference is the news he receives about his leadership peers – Madison is now missing in action, leaving the woefully ill-suited Strand to deputise. But there will be zero chance of Dwight recognising his own worth to PADRE if Dove dies on his watch.

It’s that dilemma that sends the group back to Sanctuary, with the clock ticking – as Dove deteriorates and their enemies close in. Director Phil McLaughlin gets a good visual impact from the rebuild of the Sanctuary set, a place now suffering the effects of neglect in the years since Negan’s rule. Momentary flashbacks to the time of the Saviors provide unwelcome reminders of past horrors for both Sherry and Dwight as the group find the business of surgery far more complex than they’d hoped.

This segment is the episode’s strongest, as June recoils from the idea of being a hands-on medic, Sherry and Dwight fumble their way through her instructions, and a distressed Dove reminds them all of their poor track record in keeping patients alive. To up the ante even further, gunfire attracts a mini-swarm of walkers who begin hammering on Sanctuary’s flimsy walls, bringing down structures and shaking the foundations.

From here on in, things become much more melodramatic, with uneven results. Sherry and Dwight clash over who is best placed to sacrifice themselves to draw walkers away from Sanctuary before Sherry (who’s become a surprisingly effective warrior) takes on the undead alone. That leads to some credibility-stretching action sequences, as Johnson and Boyd lean heavily into sentimental dialogue between characters battling waves of walkers.

As Dove’s vitals worsen, the Sanctuary’s furnace, once a site of disfigurement and torture for Dwight, is given a new status as a metaphorical haven and a place of recovery and renewal. The idea is sound enough, but it’s rendered without any subtlety by McLaughlin, who opts instead for the most overwrought symbolism.

There is, though, a consistent narrative threaded through the events of Sanctuary and fewer arbitrary character and plot U-turns than in most comparable episodes. Austin Amelio responds to the increased focus on Dwight’s angst with what’s arguably his best performance in the role to date. But this all still feels like a sideshow to the main event. Only a coda featuring an unrepentant Strand hints at the wider looming conflict, which – with just three episodes remaining – must surely now take centre stage.

New episodes of FEAR THE WALKING DEAD – SEASON 8 premiere on Mondays on AMC in the UK

Read our previous reviews of FEAR THE WALKING DEAD below:

Season 8, Episode 1, REMEMBER WHAT THEY TOOK FROM YOU
Season 8, Episode 2, BLUE JAY
Season 8, Episode 3, ODESSA
Season 8, Episode 4, KING COUNTY
Season 8, Episode 5, MORE TIME THAN YOU KNOW
Season 8, Episode 6, ALL I SEE IS RED
Season 8, Episode 7, ANTON
Season 8, Episode 8, IRON TIGER

Something is off with Rick and Morty.

After introducing a fiesta platter of returning one gag characters in Season 7’s premiere, it became clear that the show was cushioning the blow of losing a huge creative voice by bringing in “fan favourites”. A disastrous first outing stuffed with these merchandisable “comedic” sidekicks like Mr. Poopybutthole, Squanchy, and Birdperson left such a bad impression that it honestly looked as if the entire show was in a nosedive from only a single episode. The follow-up possessed some decent ideas that recentered the Smith family, but barely upped the quality of its humor.

Air Force Wong is admittedly much better than the two earlier episodes. Ian Cardoni seems to have settled into a more self-possessed performance as Rick, bringing some much-needed confidence to a plotline in which he must be the villain. Even more importantly, the writing room seems to have shown up to work this week, as the gags increased both in quality and quantity, not simply depending on pop culture references and off-beat “Are we okay with this?” confusion. But the writers still seem to be more interested in reusing old Rick and Morty characters than creating impactful stories. The episode sees the return of the president as he recruits Rick to help deal with the abrupt perfecting of society in the state of Virginia. It’s almost like the entire state is suddenly unified… that’s right, she’s back! Rick’s assimilating entity ex-girlfriend Unity has returned to check in on him, all while the president tries to get with Rick’s therapist Dr. Wong. Isn’t that what you love about Rick and Morty: not the science fiction innovations and remixes, not the witty, often improvisational and always dark humour, but seeing how many characters we love from previous seasons can be canned and crammed into a single episode!

To be fair to it, Air Force Wong is not that bad. Rick’s arc into an ever so slightly better person works really well for a show that felt like it was losing some of his flavour. His development is a well-managed positive for the show, and plenty of the gags aren’t just funny but genuinely reveal great character. But the storyline being so dependant on Unity, the president, and Dr. Wong reveals more than just the desperation of the first couple of episodes; it brings none of the original science fiction innovations and remixes that made early seasons such a hit in the first place. The Smiths are not the Simpsons, where whole episodes and storylines can veer away from them to a whole world and supporting cast. The worldbuilding has constantly been in support of two of the protagonist’s earliest catchphrases, “it doesn’t matter” and “don’t think about it.” Treating Unity or Mr. Poopybutthole’s return as a victory worth creating a whole storyline around betrays a lack of confidence in creating new adventures populated with new inspirations like last season’s Night Family. If the season continues to scrounge around their lab coat pockets for loose ideas instead of creating their own, eventually the show will have nothing but lint.

RICK AND MORTY: SEASON 7 airs weekly on E4 and is available to stream on Channel 4

Uh oh, spaghetti-ohs! Even for Rick and Morty, this episode is off-putting and straight-up bonkers. When Morty discovers that Rick’s family dinner special, a mmmm-worthy spaghetti, is harvested from the bodies of a human-like species of suicide victims, the duo visits their planet to make amends. Already we’re off the rails when the planet’s leader decides to capitalise on the population’s suicidal percentage by selling spaghetti to every planet. Of course, supply doesn’t meet demand, and depressing, unethical, anti-capitalist antics ensue.

That’s Amorte is easily the best episode of the season yet. Harry Belden as Morty comes into his role by bringing back the iconic anxiety that’s been missing from the last couple of seasons without sacrificing growth. The character-based jokes hit well, such as when Rick hypes up an existentially horrific experiment he’s created that Morty shouts “Aw geez!” in despair at, only for Rick to reveal he never actually created the experiment in the first place because he knew his grandson “would take issue.” The episode can get powerful in its techniques too, such as when unveiling a nihilistic assembly line set to a chaotic score reminiscent of Pee Wee’s Big Adventure. There’s so much to love here, especially in comparison to the desperate and frankly bland and unoriginal ideas in the first trio of stories this season. But it is… well, weird, for lack of a better word.

First there’s Rick, who seems to not only be doing well, but, oddly, doing good. As always, there are loopholes to his goodness where he can escape by insisting upon his selfish motivations, but the main character of the show has truly mellowed out a lot in the past couple of seasons. There (will be, but) shouldn’t be any complaints yet, as it has only brought a useful life to the show’s storylines so far. However, if the trend continues at this speed, he truly will have become the 22% more agreeable robot the last season temporarily replaced him with, which would leave our main duo too aligned overall to hash out the conflicts that made them. Coupled with the ever-so-slight change in voice, the growth adds to an overall feeling this episode has that’s just different from those before it.

It’s not that it’s dark; Rick and Morty has always delighted in the dark. It’s grey, systematic, and, in a rare moment of sobriety, concerned with making a societal point. Unfortunately, that point has been made before in the show in even better, more complex episodes (see The Ricklantis Mixup), and this doesn’t seem to have much to innovate on it. The episode’s main writer, Heather Anne Campbell, even did something slightly similar with the fortune cookie-obsessed Final DeSmithation, which focused on large corporations’ control of destiny. Social satire is certainly an ingredient of the show’s green portal soup, but the show’s strongish advocation for individualistic rebellion against unfair systems coupled with its final “don’t think about how the sausage gets made” ending is both counterproductive and very fresh. It represents a new sauce that, good or bad, could dictate direction to a series which, due to a notable absence, is hanging by a single starchy strand.

RICK AND MORTY: SEASON 7 airs weekly on E4 and is available to stream on Channel 4

 

Based on the Warlord Chronicles novels by Bernard Cornwell, The Winter King is a bloody medieval saga that draws viewers into the tumultuous world of Arthurian legend.

It can be a daunting task to bring a beloved book to the screen, more so when its subject matter is derived from ‘the stuff of legend’ which has already been adapted ad nauseam. The Winter King takes up the challenge, offering a grittier take on the story of King Arthur. However, its faithfulness to the book’s source material is lacking. In particular, the decision to make Merlin a younger, gregarious advisor rather than the grouchy, old druid leader of the books seems unnecessary.

Nevertheless, the series captures the essence of Cornwell’s work. Against the backdrop of the Saxon invasion and the emergence of Christianity, we learn the story of Arthur’s banishment by his father, King Uther, and his return to lead Dunnonia against invasion. Told by Arthur’s man Derfel, the combination of political negotiations and gory realism of dark ages warfare makes for a more authentic story.

Shot ‘on location’ in Wales and the West Country, the landscape provides breathtaking visuals. From imposing castles to bleak sweeping moors, no effort is spared in creating an authentic Arthurian Britain.

The cast delivers some compelling performances, chief among them Iain De Caestecker as Arthur. Depicting both Arthur’s inspired leadership and internal vulnerabilities, he crafts a multifaceted character, adding to the mystery surrounding the legend.

Together with Jordan Alexandra (Guinevere) and Valene Kane (Morgan), he creates a compelling web of relationships that carries the series through its slower moments.

The Winter King is a testament to the enduring popularity of Arthurian legend- with sharp dialogue and nuanced character development, it intelligently explores the power struggles, betrayals, and moral dilemmas that shaped the destiny of our kingdom!

It’s a fair assumption for Fear’s showrunners to make that very few new viewers are going to be tuning in to the show for the first time this close to its end. But even the most loyal of Fear fans are likely to find that watching the revelations, about-turns and mea culpas of Iron Tiger is a head-stretch. So many characters, crimes and long-hidden secrets from seasons past are unearthed in the episode’s dense plot. It will be tough for even the most Fear-fluent observers to follow along – without repeatedly hitting the pause button to reacquaint themselves with long-forgotten moments in the show’s fearsomely complex history.

Madison, Strand, and Daniel are on a scavenging run, hoping to find fuel supplies for PADRE. To their surprise, they discover that Luciana has been running an oil refining operation for many years and has set up a resupply route crossing several state lines – whilst keeping PADRE powered. Luciana has made deals with different groups to keep her activities autonomous and unmolested and is reluctant to be drawn into anyone’s fight. Madison and the group are stunned to discover that one of Luciana’s tanker drivers is none other than Charlie (who’s adopted the eponymous call sign). She was thought to have died from radiation poisoning following the nuclear explosions in Texas.

After a remorseful Charlie confesses her culpability in the death of Madison’s son Nick, Madison is enraged and determined that Charlie should do penance for her crime. Charlie agrees to drive the tanker to Troy Otto’s hotel headquarters in order to assassinate Madison’s nemesis and protect PADRE. But by the time she’s ambushed and kidnapped en route, Madison’s rage has subsided, and an against-the-odds rescue mission is soon underway.

The heavy-going script for Iron Tiger, by Nick Bernardon and Jacob Pinion, struggles to carry the weight of continuity that the story draws on. There’s lots of exposition from everyone involved, with each exchange showing characters refuting other people’s accounts of past events. But what makes it difficult for the viewer to invest in those endless disagreements is that Fear’s writers continue to inject arbitrary decision-making into almost every scene – plans are reversed as soon as they are agreed upon; commitments are abandoned at a moment’s notice, and key relationships flip between alliance and enmity on a single line of dialogue.

How characterisation is handled also remains a problem. The reinvention of the former murderous tyrant Victor Strand in Anton was long overdue. But rather than add new layers of complexity and interest to his nature, the writers have simply wiped his past. Strand is now a thoughtful, considerate and altruistic brother-in-arms. It’s also difficult to buy into the idea that Troy’s hatred of Madison is so completely overwhelming that he’s determined to pursue revenge against her above every single other calculation. He wants to take control of PADRE simply because it’s hers, regardless of the cost. His motivations feel forced, which flattens the frisson of their standoff. And while there’s no doubting the strength of Madison’s resolve, as portrayed by Kim Dickens, she remains a character that it’s pretty difficult to warm to.

The best moments of the episode are those that unfold at night around the burning wreckage of a petrol tanker, as walkers close in and the search for a missing child becomes more desperate. It’s the kind of atmospheric and unsettling sequence that the show needs a great deal more of. Charlie’s story comes to an end in a moment of melodramatic sacrifice, but the context in which it occurs robs it of poignancy. In 2023, showrunners need to demonstrate some emotional intelligence when including scenes depicting a young person’s death by gun-suicide. There’s scant evidence of that sort of careful reflection here, despite the network’s addition of support messages to the opening and closing credits.

When Madison’s actions repel Daniel, he takes the opportunity to depart with Luciana, leaving Madison to take over his militia. That’s before Madison makes another incomprehensible decision, which leaves Strand in the most invidious of positions. The idea that the former dictator would be a good proxy to run PADRE in her absence is as ludicrous as Madison’s belief that she can break her solemn promise to its inhabitants. As she saunters off alone, some viewers may feel a sense of empathy with the personal torment Madison is wrestling with. Many more are likely to think that the series has no time left to indulge such unearned petulance.

New episodes of FEAR THE WALKING DEAD – SEASON 8 premiere on Mondays on AMC in the UK

Read our previous reviews of FEAR THE WALKING DEAD below:

Season 8, Episode 1, REMEMBER WHAT THEY TOOK FROM YOU
Season 8, Episode 2, BLUE JAY
Season 8, Episode 3, ODESSA
Season 8, Episode 4, KING COUNTY
Season 8, Episode 5, MORE TIME THAN YOU KNOW
Season 8, Episode 6, ALL I SEE IS RED
Season 8, Episode 7, ANTON

Bringing Danny Robins’ hit podcast to the screen, the new BBC paranormal investigation series Uncanny takes viewers on a chilling exploration of the world of the paranormal that will have even the biggest sceptics questioning their beliefs!

Robins, known for his engaging and downright spooky storytelling, turns his audio success into a visually captivating (and somehow more haunting) experience when translated to the screen. His genuine curiosity and open-minded approach make him relatable to both believers and sceptics alike.

The series delves into three intriguing cases, each more spine-tingling than the last. From the mysterious Miss Howard in Melbourn, Cambridgeshire, an Edwardian spectre who haunts not one but two unsuspecting families, to the eerie case of three students battling an evil spirit in their student house in Oxford, these chilling tales will send shivers down your spine!

Visits to the original locations capture the haunting atmosphere of these real-life testimonies of ghost encounters and the eerie experiences of those involved. The series blends chilling reenactments with witness interviews and scientific investigation, striking the balance between entertainment and education. The scientific experiments and analytical aspects bring a sense of authenticity, allowing the show to appeal to a wider audience than similar productions might.

Discussions with experts and equal input from both ‘team sceptic’ (offering rational explanations for what has occurred) and ‘team believer’ (those who have dedicated their life to the study of the supernatural) means Uncanny offers a refreshingly open-minded approach to the paranormal, allowing viewers to make their own judgements. Whichever camp you’re in, this series will undoubtedly leave you with goosebumps and a newfound appreciation for the unknown. With engaging storytelling, top-notch production, and compelling cases, Uncanny is a must-watch for anyone intrigued by the paranormal. Sleep tight…

UNCANNY is available to stream on BBC iPlayer.

 

 

“Everyone deserves a second chance”. It’s a line repeated several times, and by different characters, in the opening episode of the final run of the (first ever) Walking Dead spin-off Fear the Walking Dead. Mindful of the harsh criticism that the show has attracted in its more recent seasons (most of it fully justified), it’s as if the showrunners are asking the audience to buy into their efforts to set things right before the credits roll for the last time.

One of the key problems confronting the makers of Fear in their endeavour to ‘do better’ is the fact that the creative space that they are working in has been transformed during their show’s mid-season hiatus. New spin-offs Dead City and Daryl Dixon have been relished by Walking Dead fans for their distinctive, fresh takes on life in the world of walkers. The bar has been raised, and expectations of what it’s possible to render on screen have soared. So, how does the opening episode of Fear’s final run measure up?

Things start off pretty promisingly. During Season Seven, Strand had become a ditchwater-dull baddie, strutting around his Tower enclave and killing or exiling anyone foolish enough to challenge his rule. Strand was one-note – repetitive and predictable and devoid of anything recognisable as character development. Here, Strand (sporting a new indie-guitarist haircut) is revealed as having reinvented himself as ‘Anton’. He’s now living with his new husband and adopted son in a thriving community of German tourists who were stranded in the US when the zombie apocalypse struck. This works well because, for the first time in a long time, it’s something that injects a sense of intrigue and mystery into a Fear storyline.

Colman Domingo looks relieved to be able to bring a new spin on Strand’s nature. When his artificial new life is interrupted by the unexpected arrival of Madison, Strand’s denial and bluster clashes with Madison’s determination to unmask him to entertaining effect. Their conflict is also used by writers Nazrin Choudhury and Justin Boyd to introduce new lines of conflict with different antagonists that will shape the plots of the five episodes to come.

Strand’s hand is forced when a raiding party arrives at the community on the hunt for the “criminal” Madison, who’s been spirited away by his stepson to avoid capture. Also on her trail is one of PADRE’s own patrols, led by Daniel, determined to retrieve her before she’s intercepted by hostile forces. All the indications are that the defence of the refounded PADRE against its enemies and the rehabilitation of both Strand and Madison will define Fear’s final chapter. Let’s hope the self-examination of both these long-standing characters is not undermined by the same continual flip-flopping that dogged Morgan’s story.

Danay Garcia (who plays Fear’s Luciana) makes her directorial debut with Anton. She does a credible job, given the quality of the source material, rendering the action sequences and zombie encounters with a reasonable amount of verve. Even with her fresh eyes, Fear continues to fumble with one of the genre screen classics: the stand-off. Whether it’s characters hunkered down just out of reach of the grasping hands and teeth of an encroaching zombie horde or armed gangs of human survivors pointing weapons at each other – these moments feel almost devoid of tension or credibility. Some other unwelcome Fear signatures also resurface. Characters continue to do idiotic, inexplicable things – like carrying really bright lanterns whilst trying to evade those chasing them through the woods at night.

As the string of capture-and-escape unfolds, the leader of PADRE’s new enemies is revealed. He’s perhaps not the most obvious individual from the show’s long list of baddies to bring back for one last smackdown, but he does possess some important qualities: unfinished history with Madison and a mean and violent streak.

Much like its two remaining principal characters, Fear the Walking Dead is a show grappling with a desire to reclaim its much-tarnished reputation. Anton is a better episode than pretty much any of those in the first half of its final season, but that’s a pretty low bar to step over. There are no grounds for hyperventilating excitement. But there is evidence here that some of the worst fears about the fate of Fear may go unrealised and that something of value might just be salvageable in what little time remains.

New episodes of FEAR THE WALKING DEAD – SEASON 8 premiere on Mondays on AMC in the UK

Read our previous reviews of FEAR THE WALKING DEAD below:

Season 8, Episode 1, REMEMBER WHAT THEY TOOK FROM YOU
Season 8, Episode 2, BLUE JAY
Season 8, Episode 3, ODESSA
Season 8, Episode 4, KING COUNTY
Season 8, Episode 5, MORE TIME THAN YOU KNOW
Season 8, Episode 6, ALL I SEE IS RED