Movies
The Walking Dead: Season Two (AMC)
“Few could argue that “Walking Dead’s” first season was inconsistent; when it was good it was great, and when it was off you might start wondering why you even watched the show in the first place. And with the behind the scenes drama surrounding the show as of late, there was some fear that the show might run itself into the ground faster than you can say “Heroes”. Well, if the season premiere of Season 2 is any indication, we don’t need to worry about a damn thing – if anything, it’s better than ever.”
Episode Premiere: Few could argue that “Walking Dead’s” first season was inconsistent; when it was good it was great, and when it was off you might start wondering why you even watched the show in the first place. And with the behind the scenes drama surrounding the show as of late, there was some fear that the show might run itself into the ground faster than you can say “Heroes”. Well, if the season premiere of Season 2 is any indication, we don’t need to worry about a damn thing – if anything, it’s better than ever.
As much as I loved the pilot, there was a minor thing holding it back – it was running a bit close to the comic. The beats taken from the source, while well executed, didn’t feel organic with the new stuff, as if they weren’t sure how far they should stray before returning to familiar ground. But it seems they’ve finally nailed the balance, as the season opener does recreate elements from the comic (I won’t spoil which) but truly makes them its own – when a certain character is wounded, it’s not because it happened in issue whatever of the book and that’s where they should be in the show’s timeline, it’s because it perfectly follows the increasingly dire situation that the episode revolves around.
The premiere picks up more or less where the 1st season finale left off, with everyone driving out of the city, hoping to find a safer refuge. It’s not long before there’s a hiccup – the highway is blocked with cars that were either abandoned or stalled out when their owners died (the logic of this scenario never makes sense to me, but as it is a part of every post-apocalyptic tale ever, I just have to deal with it). Everyone unloads out of the RV or car they are traveling in and gets to work clearing the road and finding supplies – it’s merely an inconvenience at first. But then (spoilers!) zombies show up.
What follows is one of the most intense sequences in the show’s history, possibly THE most. Our group is scattered up and down the highway, and not everyone is aware of the looming danger (zombies may be slow, but they’re not deaf – shouting “WALKERS!” isn’t an option). Also, not all of our characters have made it into the main title credits yet (welcome, Norman Reedus!), which ramps up the tension when two such characters are put in extreme danger. The script wisely gets Rick out of danger early on (he’s the first to see them) and instead focuses on “not so safe” folks like T-Bone and Sophia, plus an attack on one main caster that is no less intense thanks to the close quarter location (the RV’s bathroom) and their complete lack of defensive weapons. It’s a terrific sequence, and while it might seem a bit like they’re blowing their wad putting the big zombie setpiece in the first act, it’s actually a masterstroke when you think about it.
Because as a result of this swarm, one character is separated from the group, and then it becomes a zombie-lite but still intense search and rescue mission, allowing those who tune in for zombie carnage to be consistently engaged (particularly during an impromptu “autopsy” sequence) while also strengthening the characters. Rather than present a fun but ultimately pointless bit where our heroes silently kill anonymous zombies in a sequence made entirely in the editing room, nearly all of the characters get to engage in a little personal drama, all centered around this event. One wants to leave the group, another feels they are responsible, another feels it might be a waste of time, etc. It took 7 episodes, but they have seemingly finally found a way to blend the dramatic beats with zombie action in a way that can satisfy fans of both areas at once.
The dialogue has also improved. I cringed at a few lines here and there (Laurie Holden’s Andrea actually bemoans the “madness of the world” or some melodramatic nonsense along those lines), but most of it sounds natural, particularly a mini-speech that Lori delivers to most of the group, defending Rick’s un-asked for position as leader. Dale also gets a nice bit with T-Bone, explaining how he’s sick of the “needs of the many vs the needs of the few” argument. Darryl (Reedus) still feels a bit one-note (does he even remember his brother?), but I assume now that he has been added to the main cast that they will be giving him more to do as the season progresses. And pay close attention to Rick’s opening lines for a slightly meta joke about Dr. Jenner – good to know they’re listening to us.
Obviously this is just one episode, and while it is a great one, that doesn’t mean next week’s will follow suit – this show has been defined by its uncanny ability to lose its own momentum. But I think the time off and fan responses haven’t been in vain; even if next week’s isn’t AS good, it’s obvious that they’ve found their footing and gained some confidence with their storytelling, and even if they never make another episode as good as this again, I am willing to bet that the worst is behind them.
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Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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