Season 11, Episode 6, “Inside”

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Lauren Ridloff as Connie in The Walking Dead

Lauren Ridloff as Connie in The walking dead
Photo: Josh Stringer / AMC

At this point of The walking dead‘s run, it’s hard not to feel like Bill Murray in groundhog day whenever we are greeted with something we have never seen before. (Specifically: “Anything that’s different is good. ”) Any respite from the strife and strife that we have seen a dozen times before comes across as a welcome tonic, although it does happen at times. collapses in failure. I’ll take an ambitious and inventive dud on a safe and routine episode anytime, although the former have become increasingly rare, even when the series received six more ‘bonus’ episodes to play the way it is. has chosen. But when we get something different and it is well done ? It is even less common. Add the fact that this new well-executed thing is actually scary, to boot? This, my friends, is called The walking dead trifecta, and it’s high time we got another.

Everything did not work in “On The Inside”, but when it does, it really works. Obviously your mileage may vary based on how much you love certain horror tropes, but in the eyes of this reviewer, Connie and Virgil’s time inside Hell House was wonderfully executed, indulging in the conventions of a movie of horror without ever feeling like they were deployed at a lower cost. We’ve had episodes over the past few seasons that have managed to scare people, especially during First mid-season of season 10, “Press, but this may be the first time that I can remember the show putting the characters to the test at a festival for fear of something behind the walls, and it was a lot of fun.

While the lion’s share should go to episode director Greg Nicotero, a man who knows his horror movies, where framing and editing are everything—Kevin Deiboldt’s script does a very efficient job of preparing all the surprises. Connie, we learn, hasn’t slept in days, refusing to take Virgil’s advice and get some rest. This is because she is suffering from PTSD: whenever the exhausted woman closes her eyes, or even just leans against a window for a while, she starts having flashbacks of horrific images from the past. So when they take refuge in an old house to escape the barrage of walkers outside, we expect the symptoms of severe fatigue to torment her. So when Connie starts exploring the building on her own and spots a few thing behind the walls, we don’t know if it’s really there, or if, as Virgil suspects, she’s hallucinating.

Just look at this creepy motherfucker.

Just look at this creepy motherfucker.
Photo: Josh Stringer / AMC

The other smart move in the episode is to give the public wants to be from Connie’s aural perspective before things got out of hand. The loss of sound forces the senses to focus on the visual framing, so that when the sound falls, there is a strong sense of “Oh shit” created, while we wait for the other shoe to fall. (It also scares the jump when the creepy Wall dweller finally hits, sound bursts into the mix once more.) It works even better when she sees the Wall dweller crawling behind Virgil, and is powerless to act like her. watches through the hole in the wall while he is attacked, before finally succeeding in distracting the being long enough for Virgil to plunge his knife into his side. The climax reveals that there are actually three of them — humans in name only, more like Savage animals that people – is just the icing on the disgusting cake, a chance to meet both the gore and catharsis quotient when Connie covers herself in viscera and opens the front door to let the walkers tear up the goosebumps.

Where’s Daryl with the Reapers?

In addition, the episode gets bonus points for actually connecting the thematic points between it.s Scenarios A and B this time. Just like Connie and Virgil are trapped inhome, Daryl is also stuck inside, albeit in a much different, far more dangerous way in the long run, both to himself and to the rest of our protagonists. Having been by force inducted into the company of Reapers, he is now forced to play the game for the time being, proving his loyalty to Pope while trying not to sell his friends too much. Unfortunately, that means having to torture Frost at Pope’s request, cutting off his finger as part of an interrogation for Maggie’s associate to reveal the location of the hideout. Frost was already in pretty bad shape the last time we saw him; having joined the living dead at the end of the episode was probably a pity.

Norman Reedus

Norman Reedus
Photo: Josh Stringer / AMC

It’s also smart how the show keeps Leah’s cards close to the waistcoat, emotionally speaking. Daryl’s speech to her and Carver on the fact that he really doesn’t like any member of the group, and how Pope scares him—“but if you say trust him, I will trust him ”—contains enough truth to sell him, all the while allowing him to hold back the fact that he’s doing all he can to keep Maggie and the others safe. While the show shouldn’t force Daryl to stick with the villains for too long this season (it would indeed be a strange choice to separate him from all the relationships we’re invested in for the majority of the show’s final episodes), for the moment, he nimbly generates a plausible thrill from the situation, and prevents him from getting bogged down in “what will this mad pope do next?” absurdity.

It was smart to keep the C plot to a minimum (Kelly goes looking for Connie, while Carol, Rosita and Magna pursue her) to a minimum, as this was by far the weakest material and a classic case of ” what a coincidence! ”episode resolution. It was incredibly stupid of Kelly to run alone like this, but perfectly in keeping with her character, who never been the sharpest tool in the shed. That didn’t make it any more entertaining to watch, as much as a numbers case of another. Walking Dead meeting. I’m happy that the hanging narrative thread has been tied, and even happier that it has given us an episode as satisfying and distinctive as “On The Inside”. It ended with a cute cliffhanger (what did Pope learn from Frost, and is Daryl fucked?), But it was all secondary to the standalone horror movie starring Connie. If you have more monsters behind the walls, Walking Dead, Let’s see ‘em.

Stray observations

  • Daryl using honesty to hide his intentions is paying off, even if it’s a bit of a retread from last season’s Negan-joins-the-Whisperers story.
  • As nice as he still couldn’t help but be Daryl. Horrible: “Stop pissing off Carver.”
  • The moment Connie came down to the basement and stepped on human bones, I said, “Okay, we’re really doing this thing!” Great.”
  • They will allow Virgil to survive those nasty knife wounds, won’t they? They looked like fatal wounds at the time, but since he was still breathing at the end of the episode, I guess he will bounce back.
  • So they are on duty 24/7 in Alexandria but nobody noticed that Kelly had run away with a horse? Go on then.
  • Really, not too many extra marks for this one. Just a little solid, standalone goosebumps that really makes this episode stand out.


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