At this point in Fear the Walking Dead (Robert Kirkman and Dave Erickson, since 2015) and in this sixth season, the series has several narrative threads that you can pull when its filmmakers deem it appropriate. And he must do it with each one alternately and without allowing the audience to forget them, because something else is not acceptable nor, of course, typical of any good storyteller worth his salt. So to begin the chapter “Bury Her Next to Jasper’s Leg” (6×06), its prologue and what causes the concrete plot are dedicated to the mystery that surrounds the spray paintings that give name to “The End Is the Beginning” (6×01) and its disturbing culprits.
It is insisted that Virginia is one of those loading villains who loves to hear her own voice, more like Negan than the Governor
In addition, it insists on the fact that Virginia (Colby Minifie) is one of those charging villains who find it irresistible to explain themselves with long speeches that seem full of carefree but in which, at the same time, something alarming is always sensed, the threat of an unscrupulous messianic psychopath. Perhaps she is crazy to hear her own voice, and this brings her closer to the bore of Negan (Jeffrey Dean Morgan) than to the ruminant Philip Blake, the Governor (David Morrissey). On the other hand, thanks to the figure in the colorful header with a western comic air, we know that “Bury Her Next to Jasper’s Leg” focuses on June (Jenna Elfman), reappeared at the end of “The Key” (6×04).
But the narrative threads that he really tackles are those that started in the latter and in “Leave What You Don’t” (5×13) and, nevertheless, he ends up raising himself with a distinguishable identity, not completely separated from the previous ones, of course. Y the planning and the lively montage of the scene that follows the titles “Bury Her Next to Jasper’s Leg” has little to envy the best medical television dramas in the ER family (Michael Crichton, 1994-2009). And then, a not casual conversation raises doubts about the whereabouts of the paralytic Wendell (Daryl Mitchell), whose life we had already feared since “The End of the Line” (5×16) because of Virginia’s proto-eugenic ideas.
The scene that follows the titles does not have much to envy the best television medical dramas to the ER in its planning and editing
We must confess that we are very pleased that, like Morgan Jones (Lennie James) in the powerful closing of “The End Is the Beginning”, someone finally put up a face to the aforementioned. Y the tension scenes that occur after having decided, with the reckless impulse that only comes from the most basic humanity and the simplest decency and in an enormously dangerous context, it is not possible for a greyhound to skip them and they have us with our souls in suspense. And an unusual swerve makes us fear that the demons conjured by Virginia in how many episodes of Fear the Walking Dead we have seen her open her big mouth, almost never to say something good, are not exorcised in a truly satisfactory way.
They manage to satisfy our desires as malevolent spectators in a certain way, without the need to light the torches
But not only we are frightened by that specific fear that pierces us like lightning in an instant of horrorInstead, showrunners Andrew Chambliss and Ian Goldberg (Once Upon a Time), along with director Daisy von Scherler Mayer (Halt and Catch Fire) and screenwriters Ashley Cardiff (Girlfriends’ Guide to Divorce) and Nick Bernardone (Unbreakable Kimmy Schmidt). They even manage to satisfy in a certain way our desires as malevolent spectators, those of the angry mass that would arm themselves with the hammer of the witches to demand what they believe is fair, but without it being necessary to light the torches. Or not yet. If the fires of “Bury Her Next to Jasper’s Leg” are not enough, the final joy at being reunited and that last disheartening detour.