TV

Fear the Walking Dead: Season 2, Episode 1 - "Monster"

M. King Adkins

Travis, Strand, and company deal with the emotional aftermath of Liza's death while navigating treacherous waters.


Fear the Walking Dead

Airtime: Sundays, 8pm
Cast: Kim Dickens, Cliff Curtis
Subtitle: Season 2, Episode 1 - "Monster"
Network: AMC
Air date: 2016-04-10
Amazon

For a show trying to remain alive on the AMC schedule, Fear the Walking Dead doesn’t seem to have much sense of urgency. Despite the enormous critical and popular success of The Walking Dead, a second season of Fear the Walking Dead was never a sure thing. In fact, I suspect only its relationship to the original series managed to get it renewed at all. Even leaving the pressing importance of ratings aside, though, we might’ve expected something more from the first episode of a second season. Quite frankly, we might've expected more from a mid-season episode.

The first episode, "Monster", focuses on the aftermath of Liza’s (Elizabeth Rodriguez) death and the survivors' escape to the sea via Strand’s (Colman Domingo) yacht. There’s some interest watching how the various characters respond to these events, particularly Liza's death. Her son Chris (Lorenzo James Henrie) is in the midst of an emotional tempest, angry and brooding, furious with his father for having actually pulled the trigger, resentful of Madison (Kim Dickens) who tries to convince him to man up, and, curiously, bonding with Daniel Salazar (Ruben Blades) -- who lost his wife to the plague -- over a bit of deep-sea fishing.

There are other matters to deal with as well. For example, we spend a bit more time fleshing out the individual characters in this group, and key relationships seem to be developing. In addition to Chris and Daniel, the relationship between Strand and Nick (Frank Dillane) grows both deeper and more peculiar.

More interesting, though, is the way Madison is more and more fascinated by Strand. On the one hand, she seems wary of his behavior, worried over his apparent unwillingness to sleep and his tendency to paranoia. On the other, she seems oddly drawn to his point-of-view, unwilling, as other are, to entirely dismiss that paranoia as unfounded. This puts her in a unique position to mediate between Strand and the rest of the group, and offers up fertile possibilities for how political alliances might shake out as the series continues.

All of this and we learn that walkers are at least as dangerous in the water as they are on land.

The problem is none of this material really adds up to a compelling episode, let alone a season premiere. I suppose there is an argument to be made that the Fear the Walking Dead needs to re-establish these characters. After a short first season, and conscious that they are trying to attract new viewers, the producers may have felt it necessary to start anew, moving more slowly to give those new viewers time to catch up. However, in an age where it’s fairly easy to track down the handful of episodes you might've missed, and with AMC having re-played the entire first season over the last few weeks, it's hard to justify this strategy.

More importantly, the character development we’re offered just isn't all that compelling. It certainly doesn't add anything new to what we were given in the first season. So, for example, we return to the somewhat intriguing relationship between Strand and Nick, one Nick struggles to understand. But we've heard Strand's explanation, that he values Nick because of his history as a junkie, before:

Strand: How many times should you have died?

Nick: I don’t know. Every time I used.

Strand: Were you afraid? That’s fearlessness. That’s focus.

In last season's finale, "The Good Man", Strand uses Nick's past to similar advantage: "Picture you’re somewhere else with a needle in your arm." Later in the same episode, he comments on the need for "new" thinking: "The only way to survive a mad world is to embrace the madness." We get it -- post-apocalypse drug addicts have skills; let's get on with using them.

Along these lines, the central theme of this new episode has to do with learning to be ruthless in this new world, which in plot terms involves a growing struggle for power between Strand and Travis (Cliff Curtis). In a balancing act typical of The Walking Dead series, this involves two separate events that push us in two separate directions. The first of these is an encounter with a raft full of desperate survivors who plead with Strand to allow them on board, only to be turned away. Here the show seems to suggest we sympathize with Travis, who longs to hold on to his humanity, his "good"-ness, and help all comers. Meanwhile, Alicia (Alycia Debnam-Clark) makes radio contact with another desperate group on another sinking boat, and promises to bring help. By the end of the episode, we learn that reaching out in this way has actually put the yacht in jeopardy, a signal that Strand was right all along.

Here again, the problem with this plot line has to do with the fact that we've seen it play out before, in this case not on Fear the Walking Dead but rather on the original series. If we have any familiarity with the previous series -- and let's face it, why would we be watching otherwise -- we know all too well the dangers to be found in helping strangers. As a result of this knowledge, we don't sympathize with Travis as we should, don’t feel the anxiety over his refusal to help others. We don’t fear Strand's madness, seeing in it instead a mirror of Rick’s (Andrew Lincoln) paranoia and cautiousness.

I wrote last season that the title of this show reveals its chief difference from the original; this is a show less about battling walkers than about how fear drives humans to radical changes of behavior. Last season, that fear was most prominently symbolized by the military, whose fear led them to impose a martial law that predictably devolved into dictatorship. I was intrigued by that thematic approach, which is to say that I don’t think Fear the Walking Dead needs to reinvent itself as an action show.

Yet, the lack of action creates a high bar for the show, even leaving aside all the comparisons that it inevitably inspires to The Walking Dead. Focusing on personalities, relationships, and emotions means producing gripping conflicts between riveting characters delivering intense dialogue with blistering performances. To date, Fear the Walking Dead hasn’t managed to rise to that level, and after this episode I'm left wondering if they even aspire to it.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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8

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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