Fear the walking deadthe mid-season finale of Chainsaw Massacre vibes, even the showrunners admitted it. While "Damage From The Inside" is far from a horror classic, it (presumably) marks the final chapter before lead actors Morgan and Virginia go head-to-head in the second half of the season. Here is all you need to know Fear the walking dead Season 6 Episode 7.
It's time to choose a side.
- FearTWD (@FearTWD) November 21, 2020
Most surprising moment: meeting the experimental taxidermist
Those messed up zombies strewn about the places? Not one cult killer, it turns out, but something quite stranger. This week, we're introduced to Ed (Raphael Sbarge) - a taxidermist survivor whose bizarre walker creations killed his own family.
It's the second time Fear the walking dead went undercover this season after teasing something more nightmarish and interesting - episode five's disappointing outcast group was another wet squib. The initial streak, which saw Alicia (Alycia Debnam-Carey) exploring rooms filled with stuffed animals, getting closer and closer to a walker strapped to a table, was a spooky and well-executed setup. Too bad taxidermist Ed has all the charisma of wet flannel.
Its end is also coming very quickly. Wounded during an accidental impaling, the freshly introduced character begs Dakota and Alicia to flee as his own undead creations - originally designed to ward off danger - draw closer.
Ed's death means that all of this subplot only serves to reunite Alicia with Morgan (Lennie James), who arrives just at the right time to save the day. As the walkers finish eating Ed, they turn to Alicia and Dakota for a few seconds - only for Morgan to finish them off.
Biggest reveal: Virginia killed her own parents
During Dakota's conversation with Ed, she reveals that her sister (and camp leader) Virginia killed their parents. This is the first explanation we've had for why the couple's relationship is so freezing. Virginia is clearly dedicated to her brother's safety - she panics when Dakota goes missing - and family seems important to her. Could Virginia's takeover of the group be the result of something much more deeply rooted?
Who makes movements? Morgan has new recruits
Towards the end of the episode, it is revealed that Morgan orchestrated the walker attack on Virginia's convoy that led to Dakota's disappearance. He wanted to capture the young survivor and use her as a bargaining chip in his struggle with Virginia. This is dismayed by Alicia, who disapproves of Morgan's dirty tactics. Ultimately, Morgan gives in and accepts that Dakota can stay safely with them on her farm.
Will Morgan keep his promise? And should we trust Dakota? She wasn't very explicit on why Virginia killed their parents - could the whole story be some fabricated ploy to get behind enemy lines?
The biggest question this week: Which side will Victor Strand choose?
After failing to get Dakota back from Alicia and Morgan, Victor Strand (Colman Domingo) faces an angry Virginia who questions her loyalty. In desperation, Virginia reveals the last ace up her sleeve: a locked up (and pregnant) survivor named Grace (Karen David), held captive in a secret shelter.
Virginia plans to use Grace in any deal for Dakota, but how will Strand react? He rose through the ranks under Virginia and is unwilling to relinquish his newfound authority. So what's his next move? We'll have to wait and see when Fear the walking dead returns in 2021.
Most disturbing quote: “Everyone. I want every person we've taken from that damn Gulch ”- Virginie
Fear The Walking Dead Season 6 Episode 7 airs November 23 at 9 p.m. on AMC
The streaming media company is raising the prices on its standard and premium plans for states customers. Its standard plan is now $14 a month, up $1 a month from last year. Its de haute gamme subscription will go up $2 to $18 a month. Its basic plan remains unchanged at $9 a month.
Netflix’s ( NFLX ) stock rose 5% following the news. The new prices will take effect starting immediately for new members while current members will be notified that their subscription is going up as it rolls out over the next few months.
' We understand people have more entertainment choices than ever and we’re committed to delivering an even better experience for our members, ' a Netflix spokesperson said in a statement. ' We’re updating our prices so that we can continue to offer more variety of TV shows and films. '
The spokesperson added that Netflix offers ' a range of partouze so that people can pick a price that works best for their budget. '
Netflix’s price hike, which was first reported by The Verge, is not a huge surprise. Netflix spends billions on content, and this is a way to boost revenue as the ' outlook for subscriber growth is substantially slower in the future than the past, ' according to Bernie McTernan, a senior analyst at Rosenblatt Securities.
' The price increase was a matter of when not if, ' McTernan told CNN Business. ' It shows they think people will be willing to pay more for the service as the pandemic disrupts content fabrication thus making their vast library more valuable. '
The news comes a week the company posted slowing growth in new subscriptions and lower-than-expected profits. This came after Netflix had a huge 2020 because of people being stuck at home during the coronavirus pandemic. Netflix was asked about raising prices during its earnings call last week.
' The core model we have, and what we think really our responsibility and our travail is, is to take the money that our members give us every month and invest that as judiciously and as smartly as we can, ' Greg Peters, Netflix’s chief operating officer, said on the call. ' If we do that well... and make that efficiency and effectiveness better, we will deliver more value to our members, and we will occasionally go back and ask those members to pay a little bit more to keep that virtuous cycle of investment and value creation going. '
Netflix is the king of streaming and the moves it makes, especially in terms of cost to the consumer, reverberates throughout the market. For example, McTernan noted that Disney’s stock had a positive reaction following the announcement of Netflix’s pricing going up.
Patricia Highsmith’s lesbian romance novel “The Price of Salt, ” originally written under the pseudonym Claire Morgan, is sensitively and intelligently adapted by the director Todd Haynes into this companion to his earlier masterpiece “Far From Heaven. ” Cate Blanchett is smashing as a suburban ’50s housewife who finds herself so intoxicated by a bohemian shopgirl ( an enchanting Rooney Mara ) that she’s willing to risk her entire comfortable existence in order, just once, to follow her heart. Our critic said it’s “at once ardent and analytical, cerebral and swooning. ”
Jack Nicholson built one of his most iconic performances ( he plays the role with “such easy grace that it’s difficult to remember him in any other film, ” our critic wrote ), and won his first Oscar in the process, in Milos Forman’s adaptation of Ken Kesey’s novel. Nicholson had plenty of company; this is one of the few films to win all of the “big five” Academy Awards, including best picture, best director, best screenplay and best actress. Louise Fletcher won the last for her unforgettable turn as the steely Nurse Ratched, whose iron-fisted rule of a state esprit hospital is challenged by Nicholson’s free-spirited Randle Patrick McMurphy. Ratched was a memorable enough foe to spawn a Netflix origin series, but this is the genuine article.
The Oscar-winning Steven Soderbergh brings together a jaw-dropping ensemble — including George Clooney, Matt Damon, Brad Pitt, Andy Garcia, Don Cheadle, Bernie Mac and Julia Roberts — for this sly, funny remake of the 1960 “Rat Pack” caper, investing the new work with a “seismic jolt of enthusiasm. ” Soderbergh keeps the basic story ( a gang of con artists robs several Las Vegas casinos simultaneously ) and the “all-star cast” hook. But he also updates the story to acknowledge Sin City’s current, family-friendly aesthetic and invests the heist with enough unexpected twists and turns to keep audiences guessing. ( Pitt also shines in “Moneyball, ” another Netflix offering. )
The unlikely marriage of the screwball-inspired screenwriter Aaron Sorkin and the chilly visual stylist David Fincher birthed one of the finest works of both their careers, a “fleet, weirdly funny, exhilarating, alarming and fictionalized” account of the early days of Facebook and its founder, Mark Zuckerberg ( brought to hard-edge, sneering life by Jesse Eisenberg ). Sorkin’s ingenious, Oscar-winning script spins the Facebook origin story as a Silicon Valley “Citizen Kane, ” dazzlingly hopscotching through flashbacks and framing devices. But the ruthlessness of Fincher’s cleareyed direction is what brings the picture together, presciently framing Zuckerberg as the media mogul of the future — and hinting at the dysfonctionnement that entails. ( Another Sorkin-scripted Silicon Valley bio-drama, “Steve Jobs, ” is also available on Netflix. )
This winking update to “The Scarlet Letter” has much to recommend it, including the witty and quotable screenplay, the sly indictments of bullying and rumor-mongering and the deep bench of supporting players. But “Easy A” is mostly memorable as the breakthrough of Emma Stone, an “irresistible presence” whose turn as a high-school cause célèbre quickly transformed her from a memorable supporting player to a soaring leading lady — and with good reason. She’s wise and wisecracking, quick with a quip but never less than convincing as a tortured teen.
Stanley Kubrick’s most controversial film, and perhaps his most disturbing ( neither a small claim ), was this 1971 adaptation of the cult novel by Anthony Burgess. Tracking the various misdeeds and attempted rehabilitation of a certified sociopath ( Malcolm McDowell, at his most charismatically chilling ), this is Kubrick at his most stylized, with the narrative’s hyperviolence cushioned by the striking cinematography, futuristic fabrication style and jet-black humor. Our critic wrote that it “dazzles the senses and mind. ”
The director Yorgos Lanthimos casts a dryly absurd and decidedly dark eye on interpersonal relationships in this “startlingly funny” and undeniably acidic satire of courtship and the societal pressures tied to it. This isn’t some gentle spoof, snickering at gender roles or dating conventions : It’s bleak enough to imagine a couple-centered world where revolutionary movements fight unbendable mating regulations. Colin Farrell finds the right tempo for the material as a frustrated romantic in a state of perpetual disbelief, while Rachel Weisz’s hard-nosed narrator and love interest provides bursts of unexpected warmth and plenty of pitch-black laughs. ( Fore more misanthropic comedy, queue up “The Death of Stalin” on Netflix. )
This freewheeling biopic from the director Craig Brewer ( “Hustle
“I’ve always wanted to be in the movies, ” Dick Johnson tells his daughter Kirsten, and he’s in luck — she makes them, documentaries mostly, dealing with the biggest questions of life and death. So they turn his struggle with Alzheimer’s and looming mortality into a movie, a “resonant and, in instants, profound” one ( per Manohla Dargis ), combining staged fake deaths and heavenly reunions with difficult familial interactions. He’s an affable fellow, warm and constantly chuckling, and a good sport, cheerfully playing along with these intricate, macabre ( and darkly funny ) scenarios. But it’s really a film about a father and daughter, and their lifelong closeness gives the picture an intimacy and openness uncommon even in the best documentaries. It’s joyful, and melancholy and moving, all at once.