Fangirl Friday: Fear the Walking Dead and the Evolution of Alicia Clark

YO, peeperas y peeperos!

Happy freakin’ Friday and may you Live Long and Prosper. Many of you fan-types totes celebrated/commemorated the 50th anniversary of Star Trek yesterday. If you didn’t, WHY NOT??? And yes, in a future fangirl post, I’ll be talking about Star Trek. But today, mis amigas y amigos, we shall speak of the apocalyptic TV show on AMC, Fear the Walking Dead.

I want to do this because after last Sunday’s episode, “Do Not Disturb,” I feel as if FTWD might be finally – FINALLY – breaking free of the sandbar it’s been moored on for nearly two seasons.

And it’s solely because the character of Alicia Clark has unleashed her inner BAMF (::ahem:: Bad-Ass Mother F*cker) and it is glorious to behold.

I’ll probably get some flak for this, but come ON, people. You know I’m right. For those of us who started watching the show and groaned our way through the first season, yelling at the TV and wondering why the hell these people seemed utterly unable to deal with anything, it feels as if things are starting to break free a bit.

And yeah, I get it. A zombie apocalypse is a giant bucket of suck. Who the hell is ever prepared for an apocalyptic scenario besides that weird dude on the edge of town who stockpiles weapons and food and looks at you funny when you pass him in the store? Yeah, that guy. Has all the “no trespassing” signs up on his razor wire fence and probably some obscure antigovernment bumper stickers all over his tactical vehicles. THAT guy. He’s prepared. You might want to get to know him better…

ANYWAY. Let’s talk FTWD for a minnit.

Oh, and there are SPOILERS, friends. I’ve tried not to reveal BIG stuff, but I do discuss some of the plotlines.

First, some context. For those not in the know, this show is set just BEFORE the infection ravages the land, so everything is “normal” and fine when it opens. If you follow The Walking Dead, you know that it takes place AFTER shit has pretty much already collapsed. FTWD, however, plops you down just before the first infections occur. In TV time, that means we spend, like 4 episodes of it waiting for people to start flipping out. One of the biggest complaints I heard about the first season (and I had it, too) was the glacial pacing. FRUSTRATING as hell.

And none of the characters really grabbed me initially. Those characters consisted of high school guidance counselor Madison Clark, her partner Travis Manawa, who is an English teacher and Madison’s son, Nick, and daughter, Alicia, from her previous marriage. Travis has a son, Chris, with his ex-wife, Elizabeth Ortiz.

From left: Madison, Travis, Alicia, Nick
From left: Madison, Travis, Alicia, Nick

At first, this context seemed really promising to me. A blended family dealing with the day-to-day weirdnesses of trying to actually be a family, but there are rifts. One of the most intriguing characters for me initially was older teen Nick, who is a drug addict. His sister, younger teen Alicia, has pretty much lived in his shadow throughout their lives because guess who Madison focused on most? Yep, Nick. Because he was the problem child, always disappearing and ending up in awful places. So Alicia pretty much raised herself, even as she, too, picked up Nick’s pieces. And she’s a piece of work. She’s moody, sullen, and frustrating as f*ck. In other words, she nails the character.

Elizabeth and Chris (source)
Elizabeth and Chris (source)

Travis, meanwhile, has his own issues. He doesn’t have the best relationship with his son (who is about the same age as Alicia), though he and his ex-wife try to be cordial. Travis is that guy who tries too hard. He means well, but he’s really freaking annoying with his trying too hard and you just want to shake him and say, “Dude. Stop. Give it up. Move on to the next issue, son. This one can’t be solved.” But he doesn’t. And he’s trying to be a moral compass for Chris who seems to have blown his morality gasket and at some point, Travis, you’re gonna have to make some hard choices.

So there’s your context for the people who will greet the impending apocalypse, which starts as news reports of some kind of weird “flu.” We all know it’s worse than just that, but obviously nobody understands what precisely it is until there’s an incident on a freeway in which a man who has turned into a the living dead starts biting the hell out of emergency workers. People are already starting to panic because incidents like these are cropping up all over the city. Amidst this developing crazy Travis and Chris end up holed up in a shop with some other people who will be with them for a while.

In a nutshell, our bumbling dysfunctional blended family will end up in Mexico, fleeing south from the crazy, and that’s where we are right now, halfway through Season 2.

What I want to talk about here is the evolution of Alicia Clark, the moody, marginalized teen in Season 1 and the first half of Season 2 who had some glimmers of badassery in the first season but she was always overshadowed by Nick pulling either bad or good shit; you never could tell what his decisions would lead to. Props, by the way, to actor Frank Dillane, who plays Nick, who is actually one of my fave characters in this motley bunch. And then when Chris starts acting out, well, Alicia gets lost in the shuffle.

gratuitous photo of Commander Lexa because omg
gratuitous photo of Commander Lexa because omg

Which was ultra-frustrating for this fangirl, because straight up, the only reason I decided to continue watching FTWD after Season 1 was because of the actress who portrays Alicia. That would be Alycia Debnam-Carey (ADC), the mastermind behind the charismatic and iconic Commander Lexa from the post-apocalyptic show The 100.

Alycia Debnam-Carey
Alycia Debnam-Carey

I figured ADC had some decent acting chops, to bring Lexa to life the way she did, so surely with the material at FTWD something awesome would happen. But alas, an actress and her character are only allowed to function within the material they’re given, and I slogged through the first half of season 2 watching carefully for ADC to bust loose, to defy the writers and just open a can of Lexa.

But no. Though she did do some walker bustin’ with a baseball bat, but her demeanor was more AHHH HELP ME OMG than “I’m gonna bust this dude’s head open and get on out of here.”

I finally gave up on the last couple of episodes of the first half of Season 2, disappointed because the writers have a GEM in ADC. A freaking GEM. And it didn’t feel to me that they were using her skills effectively. I decided to write FTWD off and drown my sorrows in re-watching The 100.

And then I heard a rumor, because this is what fangirls do. They hang out on social media where other fangirls gather and they hear things. ADC made a comment somewhere that got picked up on the Twitterz about what was in store for her character in the second half of FTWD and the comment had to do with how ADC was practicing her knife skills (for the love of all that is holy, click that link and watch ADC show you some of those skillz!) and had adopted a balisong (butterfly knife) for her character. Which, incidentally, she stole off “Jack,” a character from the first half of Season 2 who totally catfished her.

Butterfly knife,
Butterfly knife,

You’ll notice the blade is nestled essentially between two handles that swivel, which means you can do some serious badass tricks twirling this thing around your hands. That’s also why there’s an entire industry of practice butterfly knives for you to get the hang of that. Because obviously, bad idea to try it with an actual blade right out of the gate.

At any rate, my little heart went pitter-patter. Was ADC tapping into the spirit of Lexa? Was she finally going to be allowed to open a can of destructo on the dead?

INQUIRING MINDS, people. I watch this stuff so you don’t have to. And I decided, okay, I’ll give this another shot.

The first episode of the second half of Season 2 of FTWD, “Grotesque,” was basically Nick pulling a Nick — that is, going off on a walkabout through Mexico by himself to deal with his issues following the crazy that befell them all in the first half of the season. He ends up with yet another group of cultish survivors (I’ll let you watch the series for yourselves) and then the second episode, “Los Muertos,” was Madison and Alicia along with two people they picked up roughly halfway through Season 1, Ofelia and Strand.

Strand is a renaissance man of problem-solving and apocalyptic preparation. Super badass, but just this side of sociopathic. Actually, he’s probably just the right guy to have with you when the dead walk the earth. Except for this episode. More on that in a minute. Meanwhile, Travis and Chris are off trying to solve their dad issues. (my opinion? Chris is a lost cause, Travis. Move along.) In the apocalypse? Who has time for that? But I digress.

Key, here, is the fact that Nick did bail and he’s out doing Nick things, leaving Alicia to deal with Madison, who is also flipping out because her partner, Travis, is gone. He’s trying to get his son Chris to stop being douchebro of the apocalypse. Why is this key to Alicia’s character? Because for the first time, there’s no Nick. There’s no possibility of finding him and bringing him home like they used to do. When he’d go off on his binges and fail at rehab, Madison always found him or he ended up coming home.

This time, it’s different, and Alicia realizes it immediately and she basically keeps laying that out for Madison. “He’s gone, Mom.” She’s trying to force Madison to acknowledge that Alicia is still present, and that she needs her to one, not flip out and two, be a damn mom. We also really begin to see that Alicia, unlike the others, compartmentalizes. That may serve her well or it may not. We shall see.

These changes in the family dynamics have thus helped create the circumstances for Alicia’s inner BAMF. It’s a perfect storm of soon-to-be BAMF-ness.

So Madison and company end up at this Mexican highrise hotel on a beach, which appears relatively clear of zombies. (BUT IS IT? Watch it and see.) They’re in the bar and Alicia and Ofelia decide to go look for supplies in the rooms. Madison is freaking out about Alicia doing stuff on her own and Strand is all, “she’s fine, she can take care of herself” and Alicia looks at Madison and says, “Yeah. I’ve been doing it half my life.” OH, snap. She called her mom out for all the BS she put up with while Nick was running around being an addict. I love how Alicia is recognizing the parts of the old life that continue to hamstring her mom even now. The difference is, she’s less willing to put up with it.

Hmm, I thought. THIS is interesting. Alicia is showing a little spark…

And then Madison and Strand proceed to drown their sorrows in the readily available alcohol, which seemed consistent for where their characters were emotionally, and demonstrated how completely dysfunctional these people are. Especially when Strand gets hammered and starts pounding on the piano. OMG. Are you kidding me? Why not just paint targets on your back and run around on a firing range? But again, I digress.

The most interesting thing about this episode to me was that Alicia took charge. She stepped up. She had been through some serious crap and ADC plays her with a quiet, subtle nuance that I at first had missed because I wrongly kept expecting Lexa, since that was the character I most associated this actress with. I expected bold, badass, bring-the-hammer-down Lexa. Yeah, I know. That’s just dumb, to do that. I get it now. Different character, different show.

So let’s go see what ADC unleashes as Alicia Clark.

What we’re getting from ADC’s performance here is a carefully layered development of a young woman from sullen, moody teen dealing with the ways her brother’s addiction shaped the family dynamic into a BAMF who realizes that there is nobody who will help them in these circumstances and if they want to survive, they’d better freaking do it on their own. So she does. And when “Los Muertos” ends, all hell is breaking loose in the hotel, as Ofelia has disappeared and Alicia is left to her own devices in the hotel where the dead have been relatively quiet in the rooms they’ve been trapped in (that’s a whole OTHER story) until Strand taps his inner musician. The piano draws the dead out. Literally.

New walker trick, everybody — they basically fling themselves over the balcony railings of the hotel, fall to the ground below, get up (they’re dead, after all), and head on over to the bar. It was eerie, watching and hearing that. Anyway, at the bar, shit gets real, and fast.


So this is the sitch when episode 2 ends. Bad bar party downstairs, Alicia trapped on some floor high above, trying to figure out how to get down to the bar and save her mom. Not just go be with her, but to SAVE her. That’s the sense you get from Alicia’s myriad expressions as she watches the walkers (they call them “infected” in FTWD) fling themselves off the balconies. Alicia’s inner badass is blossoming, and the gears are turning. It’s almost magical, watching her assess this situation.

So Episode 3, “Do Not Disturb,” is basically Alicia’s inner BAMF debut.


And it is a sight to behold.

No, it’s not the I OWN THE DAMN SCREEN Lexa. It is, rather, an almost silent intensity of screen-owning that ADC infuses Alicia with, and you can almost see her sloughing off the teen and donning the armor of a woman on a mission.

The episode opens with a flashback to how the hotel went walker. Basically, there was a wedding party and the father of the bride seems to have had a heart attack, died, turned, and started chomping on others. Hotel staff locked them in. Anyway, the next scenes prove my point about Alicia.

First we have to deal with Chris and Travis and Chris pulling some stupid crap (I won’t even go into it because we are all about Alicia right now).

THEN scene change and we’re back at the hotel. We hear this “snick snick click click” sound of metal, and we see Alicia standing in a darkened room, staring at a peephole in the door. She’s twirling a butterfly knife in her right hand (hence the snick snick click click sounds and lord have mercy, but that caused several of us to go even gayer than we already are – a veritable tidal wave of gay flooded the interwebz with that) and then she checks the peephole and for every walker that shambles by, she carves a line in the door. She’s keeping tabs, assessing her odds.

From Tumblr
From Tumblr

She makes her decision and heads down the hall, but uh-oh, walkers at either end. So she pries the elevator doors open and jumps onto the cables. Let me say that again. SHE PRIES THE DOORS OPEN AND JUMPS ONTO THE CABLES. Can I get a GO, GIRL! She then starts pulling herself up the cables to the next floor, where a survivor she doesn’t know is shouting at her to climb and helps her out.

Turns out this woman is one of the hotel managers who locked the wedding party in. Since then, she and her nephew, Hector, have been luring walkers into hotel rooms and locking them in. So Alicia says they should clear the floor that way and get down to the bar. Elena, the hotel manager, has clearly started losing it and wavers. So Alicia steps up again, and makes the plan.


Alicia lures a bunch of walkers into a hotel room, stabs one in the head (BAMF ALERT!), goes out on the balcony, and Elena tosses her a sheet for her to get over to the next room’s balcony just as the walkers break through the balcony doors. CLIFFHANGER. Then Alicia gets Elena to take her down to the ground floor, where the bar is, and which is very obviously completely overrun with the dead. Elena starts consoling Alicia, who fiercely says, “My mom is not dead.”

And just then, Hector shows up, being held prisoner by some survivors of the wedding party. They want the keys to the rooms in exchange for Hector. Alicia tells Elena to do it, and we already hear the authority in her voice. She’s already told Elena that she’s not going to let anything happen to her, and she automatically makes the decisions. This is a woman coming into her power, a woman who has a mission and by god(dess), she’s going to see it through.

So the exchange is made and Alicia grabs Elena and Hector and opens the door to the bar. (that’s the link where you can see the scene)


The three of them use the door as a shield as the walkers lurch toward the other survivors (MOAR BAMF!). Once traffic clears out, Alicia goes into the bar and there’s a walker in there who looks a lot like Madison and Alicia is horrified but when the walker turns and looks at her, it’s not Madison and Alicia takes her knife and puts that walker down (ULTIMATE BAMF), buries her knife to the hilt in that walker’s skull and it’s almost like she’s pissed about all the bullshit that she’s been dealing with and she takes it out on that walker. After that, Elena leads her and Hector into the hotel’s basement to escape walker central, and it turns out Madison and Strand have barricaded themselves in a room down there.

The scene of this reunion really demonstrates the logical arc of Alicia’s emergence as a badass and I LOVE ME A BADASS WOMAN in an apocalyptic show (Fury Road, anyone?) There’s hugging, but the power in this scene is obviously with Alicia. Madison and Strand are wrung out, Elena and Hector are freaking out, and Alicia is the one who has held it together and is still holding it together.

It was beautiful, friends. I can’t tell you what a game-changer this episode was for me as a viewer, but also for Alicia’s character. ComicBook reviewed the episode, and had this to say, about the scene where she released the walkers: “This scene was yet another step on Alicia’s journey toward becoming the most ruthless characters on the show.”

I disagree. It’s not about “ruthless.” It’s about making decisions on the fly, weighing your odds, and figuring out the best course of action to save your mom. The only way to do that in these circumstances was to let those walkers out and get into the bar. That’s not ruthless. That’s pragmatic. This is the apocalypse. There are different rules in play, and you have to bend them in order to keep yourself and those you care about alive. “Ruthless” is what Chris did in this episode, but I’ll leave that for you to see for yourselves. And later, perhaps we’ll deconstruct why the term “ruthless” is applied to women claiming their power but not men. BUT I DIGRESS.

Basically, I could not take my eyes off Alicia Clark in this episode. Okay, so some of it was because of the tsunami of gay that roared across the fangirl universe when we realized she was butterfly knifing, but as I watched, it was because ADC did it AGAIN. She’s been slowly creating this BAMF character RIGHT UNDER OUR NOSES this whole time. She’s teased us with little bits of it throughout, led us on now and again, and then emerged from her chrysalis almost a fully formed walker slayer and mission accomplisher. It was like Athena sprang from the head of Lexa in that hotel, but Alicia’s BAMF essence is all her own, created through her own experiences thus far in this fucked-up world, which included pre-apocalypse dysfunction.

This is the perfect primal stew for Alicia Clark, BAMF of the apocalypse. All of the crap she’s already dealt with quietly created the strands of power that she tapped when it needed major tappage, when it needed to display. Trapped in a highrise hotel, your mom surrounded by walkers — you can give up or bring it and Alicia’s choice was so much of the latter. The question now remains, will she keep her moral compass? She exhibited signs of it with Elena, which gives me hope that she will. But this is, after all, the apocalypse.

But for right now, I am fully celebrating the debut of this goddess of the apocalypse, Alicia Clark.

Welcome. We’ve been waiting for you.



  1. I’m definitely on board with the Alicia fan club, but this show is going to need to really step it up for me to keep watching. My wife keeps asking how many weeks until the real zombie show returns 🙂 Of course, don’t get me started on the way TWD left us hanging…


  2. Oh, I’m not entirely sold on FTWD. Again, I’m only watching it for Alycia. And she can only do so much with the material she’s given. But shit, when she’s given it, she rocks it. I mean, FFS, look at what she did with the character of Lexa. That was a secondary character, but Lexa OWNED The 100. She just freaking OWNED it. Every time she was on screen, she was mesmerizing. That, too, was about the material, but let’s give ADC props for making that character rock. Clearly, Alicia Clark is no Lexa, but she is developing into her own type of BAMF, and based on the character’s backstory, it makes sense that her BAMF-ness would develop the way it did. I REALLY HOPE the writers keep up with that, and allow ADC to take Alicia to new and interesting places.

    Y’know, I’m probably not going to watch much of TWD this season. The last season kind of pissed me off, with what the show started doing to Carol’s character, and that crazy with Glenn. Is he dead? Is he not? Is he dead? Is he not? Gimme a break. And WTF with this “YOU HAVE TO WAIT TO SEE WHO DIED”? Hell, Negan might’ve taken more than one out. At this point, I’m not sure I’m caring enough to watch, because I was really irritated about some of the disjointed plots and inconsistencies with the characters. But who knows? I may watch it, but I don’t fangirl over TWD the way I do other shows. Although I am a huge Carol and Michonne fan. 😀


  3. As a fan of TWD I really enjoyed the first season of Fear because of the backstory on the start of the zombie apocalypse but I disliked pretty much all the characters despite loving the storyline of the season 1(a weird conundrum I’ve only ever experienced with Gone Girl before). I tolerated Alicia the best but that was mostly because of her smart mouth and when she yelled at Madison and Travis during one of their arguments. Then came season 2 and that stupid radio move and I was beginning to wonder if they were ever going to really capitalize on ADC’s talent and hard earned fighting prowess. It now looks like they are which has saved this show for me even though the rest of the cast minus Nick and Chris have grown on me, especially Strand and Ofelia. I wouldn’t have been so ready to give up if any of the characters had grabbed me right away the way several did on TWD but getting a season and a half into a show with no character I just absolutely love was unusual and very abnormal for me. I might have given up earlier in season 2 if it wasn’t for ADC and wanting to support her.

    I will admit that while it was totally badass, the elevator move in Sunday’s episode kind of went a little too beyond believability for a regular person and pulled me out of the episode to comment on it to my roommates, but it was still awesome to watch. After Sunday’s episode it’s starting to look like they are angling to make Chris Fear’s version of either Shane or the girl who killed her sister and Alicia Fear’s answer to Daryl or Carol.


  4. That’s been my biggest problem with FTWD, is the lack of a strong character that I liked. So I get it. I’m on-again/off-again with this series. Right now I’m on. 😀

    Oh, yeah. Chris is on the verge of going Shane and now that he’s hanging out with the douchebros of the apocalypse, maybe they’ll form their own Governor/Negan band. I don’t care enough about Chris to actually give a poo, and Travis has frustrated me since the beginning, so I’m all, “whatever. Go away.”

    I’m down with the elevator scene. I mean, Alicia did pick up a baseball bat earlier in season 2 and start whaling on walkers (when they were scoping out the plane crash), and she did spring Travis out of the ship after she realized she’d been totally catfished on the radio, so I could totally see her doing the elevator thing (aside — Jack served his purpose because that’s where Alicia got her knife!). Adrenaline does nutty things to the body. In terms of the elevator doors–I’ve pried a few open, and it’s doable, especially if there’s no power anywhere, so I think that could happen, too. But I’m willing to be wrong. I suspended MY belief for that scene, because I was caught up in the moment and she did struggle on those cables. And in terms of how that moved the story, it worked. I think Alicia has hidden depths and strengths, and that’s why I’m okay with the elevator scene.

    I am intrigued by the two death cults that our survivors have encountered in Mexico. No death cults quite like that in ATL during TWD, so this concept is interesting to me. Terminus was kind of a death cult, but involved cannibalism and didn’t have the overt religious symbolism and reliance on what seemed traditional religious call-and-response gatherings that the Mexican death cults engage in. Is it an outgrowth of the regional cultures in Mexico? After all Dia de los Muertos is commemorated there. Fascinating. I am kind of curious to see where Nick’s latest death cult goes, especially if that pharmacist guy really did survive a bite. That’s an interesting plotline.

    Regardless, I’d like to see Alicia become a major player here. Perhaps that’s finally in the making.


    • Fear is a good example of a show that can be a success solely on the draw of the franchise despite several flaws in storytelling and lack of a truly likeable character or even a true love to hate character. I’d love to see the writers take some queue’s from other shows on writing characters, especially TWD but even some of the other genre shows out there. This show could really benefit from a Joffrey like character that every one hates but lasts more than an episode and is in desperate need of a character like Daryl or Glenn that fans can actually root for. I do hope this last episode is the start of a better arc for Alicia and that she get’s to become the character to root for, especially since we know ADC has the talent to pull it off because I’ve been re-watching BSG this week and it’s really highlighted for me how bad most of the characters on Fear have been written.

      I think the death cults could turn out to be interesting story avenues except for them being part of Nick’s storyline so far because every time he’s on screen I tune out and struggle not to change the channel or leave the room until someone else appears.

      As for the elevator scene I still can’t truly find it believable for Alicia in those circumstances and I have a harder time suspending my disbelief in Fear and TWD because they are portrayed with more realism for their characters than many other genre shows would do in a similar situation.


  5. Well, ultimately, here’s the deal. If FTWD and TWD were real, there would be no survivors. Unless you got lucky and were up in the mountains somewhere, but then you’d really have to know how to do survival skills. Maybe you’re one of those. I don’t know. But in any kind of apocalypse, there’s not much chance of survival for anyone. That’s why it’s important to suspend disbelief when you’re watching it on TV. Because in an apocalypse like this one, chances are, every single person is going down, killed in every conceivable way, whether by walkers or other survivors who then become prey for something else. That’s why it’s fun to suspend disbelief when you’re watching fiction on TV. Because hope keeps us human, and keeps us seeking.

    Ultimately, that’s why we engage with fiction. Because it evokes something, and that, too, is another essence of being human.



    • True, but it would be easier to suspend disbelief in that instance if say it wasn’t really coming out of left field for the character, it would have been more believable to see that if it was someone like Carol, or hell I’d have found it believe if it had been Lexa. But with the way they’d been portraying Alicia, even after bashing heads in with a bat, it’s just not as believable to me. If this were a show where people could have superhuman abilities or if her character was just a little bit different I’d totally believe it but having been stuck in an elevator before and seeing how hard it was to get those door open, even by maintenance, made it less believable for me. Don’t get me wrong it was totally a badass move but it was like watching that episode of Xena where Xena flipped through the air multiple times to jump on the ship Gabrielle was on, it just pulled me out of the moment


  6. Well, there’s that. But let’s dissect this. Were you stuck on an elevator in the U.S. or Europe? Because I would argue that newer models of those elevators are a bit more difficult to open by hand. However, I have been temporarily stuck on…I think it’s 3 elevators, now. One in an older American hotel, one in a newer office building, and another in an older office building (not for very long! YAY!). The newer building’s elevator doors were difficult to pry open. The older ones weren’t.

    So we can perhaps presume that the elevators in Mexico operate on the same principles as most elevators, and because it was a resort hotel that catered to tourists from the U.S., most likely, the elevators would have been kept in decent condition, though possibly not the best, and not the restrictive standards that US and European countries have. All that said, when power goes out to everything in a building — to the extent that even emergency generators are down — that may do one of two things. It may trip a safety switch in an elevator or it may just stop all safety features. That is, without power feeding safety features — or feeding the electrical circuitry at all, anywhere in the building — you might actually be able to pry a hotel elevator’s doors open like Alicia did. I would argue, thus, that it’s not completely outside the range of possibility. Is it likely? Probably not. But it’s not completely outside the realm of possibility.

    Time to experiment! 😀

    Now had Alicia started doing 360s and Xena flips down the hallway…I would probably grant that an eyeroll. Heh.

    Thanks for stopping by!


    • That would actually be an interesting experiment to see. I was stuck in an elevator in a building on a college campus that wasn’t more than 30 years old at the time which is why it pulled me out of the moment so much, I’ve never been in a building where I could budge the elevator doors even before I screwed up my shoulder. Still it was nice to see ADC actually being utilized in a good way on this show. AMC certainly made a smart move signing her for this show and I hope they keep it up so I can keep watching.


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