I know I called Fear the Walking Dead reactionary two weeks ago (they took last week off for Labor Day), but I want to retract that. The show is not really conservative, in the same way that the current crop of Republican presidential candidates isn’t really conservative. It’s more radical and disturbing than a simple longing for a bygone fantasy era of law and order when everyone knew their place.
This week, tough, smart widow Madison (Kim Dickens, still doing better than the material deserves), heroin-addicted Nick (Frank Dillane, whose perpetually wild-eyed countenance and exaggerated limp are certain to get him mistaken for a zombie and shot some day), and Alicia (Alycia Debnam-Carey) are stuck at home waiting for Travis (Cliff Curtis) as the neighbors begin eating each other. Travis is stuck in an L.A. barbershop with his ex-wife Liza (Elizabeth Rodriguez) and their petulant teen son Chris (Lorenzo James Henrie).
The barber, an El Salvadoran immigrant named Daniel (the great Ruben Blades) doesn’t seem to like Travis much, and it’s not clear why. He takes offense when Travis reassures Chris, who’s worried about the rioting and looting outside, that they won’t break into the barbershop because they wouldn’t be interested in stealing a bunch of combs. “There’s more than just combs in here,” Daniel indignantly tells Travis, thankfully out of earshot of Chris, who would probably be terrified to learn that the shop also has scissors, shaving cream, hair gel, and other loot-worthy items. In any case, the writers clearly struggled with how to introduce Daniel’s mistrust/dislike of the generally likeable-enough Travis, and ultimately failed to come up with anything compelling. So, the combs thing.
Eventually, rioters burn down the building next door, forcing Travis, Chris, Liza, and Daniel to run, along with Daniel’s wife Griselda (Patricia Reyes Spindola) and their adult daughter Ofelia (Mercedes Mason). It’s mayhem on the streets, as protesters, rioters, and looters dissolve into a violent mass, including some who have turned and are eating each other. Kind of the way the mainstream media depicted Occupy Wall Street. Cops are eating each other, too, though, adding to the madness. While Daniel wants to split away from Travis and his people (you remember, because of the whole combs thing), Griselda is injured when cops using firehoses on the protesters knock down a scaffolding. Travis offers to drive them to a hospital, but hospitals are pretty much zombie central, so Daniel convinces Travis to take them to Madison’s home.
Meanwhile, Madison and the kids are staying up late playing Monopoly. Hey, they don’t know it’s the apocalypse yet. It’s a reasonable way for a mom to keep her kids from thinking about what’s going on outside while they wait for Travis to come home. It doesn’t make sense for Madison not to tell Alicia what’s going on out there, but it’s for the girl’s own good, right, and I’m sure she won’t do anything stupid and reckless because she doesn’t understand the threat. Later, after a dog startles them, they decide to go to the neighbor’s house, because they have a shotgun, but for some reason they leave the back door wide open, which is unwise in L.A., even if you don’t know there are zombies everywhere. After they find the gun, they hear the dog barking, and look back at their house to see the zombie neighbor go in. Do zombies eat dogs? Why yes, they do. Then Madison sees Travis pulling up to the house.
In a recurring motif, Madison is too slow, or doesn’t yell loudly enough to keep someone from entering a dangerous situation. Travis goes inside, followed by Daniel and them. He finds the neighbor munching on the dead dog, and surmises, “He’s sick.” While Travis struggles to keep the “sick” neighbor from biting him, Daniel comes up with the shotgun and fires. The first shot just gives us the best gore effect so far (and that’s what this is all about, for a lot of viewers), but the second one goes straight into the brain. It’s almost like Daniel has seen those George Romero movies that don’t exist in this universe.
Travis’ compassion is clearly meant to be seen as a liability. When he finds Daniel showing Chris how to use a shotgun, he gets angry. “You know how I feel about guns,” he chastises Madison. Yes, because gun control is not a reasonable response to the insane level of gun violence in our society, but something that weak-ass people will still be worrying about in the midst of a zombie apocalypse.
And then there’s the neighbor, Susan. Susan was apparently Madison’s rock after her husband died. She tries to eat Alicia, so Madison considers braining her, but Travis has a hard time accepting that she’s not just “sick.” He convinces Madison not to end Susan, while Daniel looks on from a distance and pronounces Travis “weak.” When Ofelia tries to convince him they should leave with Travis and Madison because they’re good people, Daniel says flatly, “Good people are the first ones to die.” Well, on this show, after Black people, apparently.
The next morning, Travis, Madison and their families are set to leave town, but as they’re driving off, Madison spots Susan’s husband returning home. I didn’t catch the name of this actor, but his obliviously cheerful calling out to his wife as though he was in a soap commercial (“Honey, the airport was closed because of the zombie apocalypse! What’s for breakfast?”) was another welcome dose of unintended comedy. Anyway, Madison tries to warn him, but again, she’s too late. She needs to take yelling lessons, or something. Just as Susan is about to bite the poor guy, the army moves in and takes her out. It should be a poignant moment, after all the hand-wringing over Susan. Instead, it’s just more ridiculousness. Travis thinks the cavalry’s arrived, and they’re saved. Daniel, who probably came to this country fleeing death squads in El Salvador, knows better, yet again.
It would help if the show was more coherent and focused in its direction, and sure, if the writing were stronger, but the aesthetic problems already seem like they’re inherent to the premise. The audience knows so much more than the characters that at a certain point, it doesn’t work as dramatic irony anymore; it’s just frustrating.
Beyond that, the show’s themes are troubling. After killing off every Black character, and depicting police brutality protesters as ignorant buffoons and lowlifes last week, this week, the show slams gun control and suggests a dystopian future where the government stepping in during a crisis is the worst possible thing that could happen. Fear the Walking Dead is falling more and more in line with radical right-wing politics every week. It can only end with Donald Trump vanquishing the zombie curse while calling Travis a “loser” and selling his new book, The Art of Zombie-Killing.
Recommended Reading
“Fear the Walking Dead Pilot: Can It Be More?”
“Fear the Walking Dead: The Black Guys Die First”